Skip to main content

Full text of "Otello: A Lyric Drama in Four Acts"

See other formats


Google 



This is a digital copy of a book that was preserved for generations on Hbrary shelves before it was carefully scanned by Google as part of a project 

to make the world's books discoverable online. 

It has survived long enough for the copyright to expire and the book to enter the public domain. A public domain book is one that was never subject 

to copyright or whose legal copyright term has expired. Whether a book is in the public domain may vary country to country. Public domain books 

are our gateways to the past, representing a wealth of history, culture and knowledge that's often difficult to discover. 

Marks, notations and other maiginalia present in the original volume will appear in this file - a reminder of this book's long journey from the 

publisher to a library and finally to you. 

Usage guidelines 

Google is proud to partner with libraries to digitize public domain materials and make them widely accessible. Public domain books belong to the 
public and we are merely their custodians. Nevertheless, this work is expensive, so in order to keep providing this resource, we liave taken steps to 
prevent abuse by commercial parties, including placing technical restrictions on automated querying. 
We also ask that you: 

+ Make non-commercial use of the files We designed Google Book Search for use by individuals, and we request that you use these files for 
personal, non-commercial purposes. 

+ Refrain fivm automated querying Do not send automated queries of any sort to Google's system: If you are conducting research on machine 
translation, optical character recognition or other areas where access to a large amount of text is helpful, please contact us. We encourage the 
use of public domain materials for these purposes and may be able to help. 

+ Maintain attributionTht GoogXt "watermark" you see on each file is essential for informing people about this project and helping them find 
additional materials through Google Book Search. Please do not remove it. 

+ Keep it legal Whatever your use, remember that you are responsible for ensuring that what you are doing is legal. Do not assume that just 
because we believe a book is in the public domain for users in the United States, that the work is also in the public domain for users in other 
countries. Whether a book is still in copyright varies from country to country, and we can't offer guidance on whether any specific use of 
any specific book is allowed. Please do not assume that a book's appearance in Google Book Search means it can be used in any manner 
anywhere in the world. Copyright infringement liabili^ can be quite severe. 

About Google Book Search 

Google's mission is to organize the world's information and to make it universally accessible and useful. Google Book Search helps readers 
discover the world's books while helping authors and publishers reach new audiences. You can search through the full text of this book on the web 

at |http : //books . google . com/| 



[GRAND OPERA] 

LIBRETTOS 



ITALIAN 
AND ENGLISH TEXT 

AND MUSIC OF THE PRINCIPAL AIRS 



OTELLO 



(OTHELLO) 



VERDI 



OLJVER DITSC5N COMPANY 
BOSTON 



SiSHDITSONiSC?^ 



3 



OPERA SCORES 

All the vocal scores have English text together with the foreign text men 
tioned below. Unless otherwise specified, these books are bound in paper 



GRAND OPERAS 



AroA 

In four acts. 



Net. 
Giuseppe Verdi 2.50 

Italian text 



BOHEMIAN GIRL....Michael W. Balfe 2.00 

In three acts 

CARMEN Georges Bixet 2.5Q 

In four acts. French text 

CAVALLERIA RUSTICANA 

Pietro Mascagni 2.00 
In one act. Italian text 

FAUST Charles Gounod 2.00 

In five acts. French text 



LAKM£ 

In three nets 



Net. 
Leo Delibes 3.00 



MARITANA....WilHam Vincent Wallace 2.50 

In three acts 

MIGNON AmbroUe Thomas 2.50 

In three acts. Italian text 

SAMSON AND DELILAH 

In three acts Camille Saink*Saens 2.50 

TROVATORE, IL. Giuseppe Verdi 2.00 

In four acts. Italian text 



LIGHT OPERAS 



BELLS OF CORNEVILLE, THE; or, THE 
CHIMES OF NORMANDY Net. 

In three acts Robert Planquette 2.50 

BILLEE TAYLOR; or, THE REWARD 

OF VIRTUE Edward Solomon 1.50 

In two acts 

BOCCACCIO; or, THE PRINCE OF 

PALERMO Frans Ton Suppe 2.50 

In three acts 

DOCTOR OF ALCANTARA, THE 

In two acts Julius Eicbberg 1.50 

FATINITZA Franz Ton Suppe 2.50 

In three acts. German and Italian text 



Net. 
MARTHA Friedrich Ton Flotow 2.50 

In four acts. German and Italian text 

MASCOT, THE Edmond Audran 2.5Q 

. In three acts 

OLIVETTE Edmond Audran 2.00 

In three acts 

PINAFORE, H. M. S.; or. THE LASS THAT 
LOVED A SAILOR 

In two acts Sir Arthur Sullivan 1.50 

SORCERER, THE. ...Sir Arthur SulliTan 1.75 

In two acts 

STRADELLA Friedrich Ton Flotow 2.00 

In three acts 



Send for DescriptiTe Circular P — Oratorios, Cantatas, Operas and Operettas* 



OTELLO, 



LYRIC DRAMA IN FOUR ACTS 



THE LIBRETTO BY 



C(rn*v<s^er '^s. 



ARRiGo B o I T o .' -i;;;:^^^ 



THE MUSIC BY 



GIUSEPPE VERDI 



WITir ITALIAN AND ENGLISH TEXT, 



V^a.vi^\2i^\V^ V> 



n 



^L, 



^^ 



e.<^ 



• • 



30 









• 4 



• > • 






• - 






• • 






• • ••• 
• • • • 






BOSTON: 

Copyright, 1888, by 

OLIVER DITSON 



& CO. 



MSWYORX 

H. DITSON & Oa 



CHICAGO 

LYON & HEALY 



CHARACTERS. 
564915 

» 

OTHELLO. THE MOOR Tenor 

lAGO, HIS ANCIENT BARITONE 

CASSIO, HIS LIEUTENANT TENOR 

RODERIGO, A VENETIAN GENTLEMAN TENOR 

LODOVICO, AN AMBASSADOR ......... BASS 

MONTANO, OTHELLO'S PREDECESSOR IN THE GOVERNMENT OF CYPRUS . . . BASS 

HERALD, Bass 

DESDEMONA, othello's wife Soprano 

EMILIA, WIFE TO LVGo Mezzo-Soprano 

Soldiers, Sailors, Cypriots, Children, Etc. 

» 

Scene: A Seaport in Cyprus. Period: End of the Fifteenth Century. 



c • 

« 



"•• • • 
• • • • 
• • • • 






• •• 



• • . 



f * 
m% • 






OTELLO. 



ATTO PRIMO. 

L'ESTERNO DEL CaSTBLLO. 

Una taverna con pergalato. Gli spaldi nel 
fondo e il mare. £ sera, Lampt^ tuoni^ 
uragano* 



SCENA PRIMA. 

Jago, Roderigo, Cassio, Montano, piu 
tardi Otbllo. Ciprioiti e Soldati veneii. 

Alcuni del Coro. Una vela ! 
Altri del Coro. Una vela ! 
Il Primo Gruppo. Un vessillo ! 
Il Secondo Gruppo. Un Vessillo ! 
MoNTANO. fe r alato Leon ! 
Cassio. Or la folgor lo svela. 
Altri {che sopraggiungonoi) . 
Altri {che sopraggiungono). 
TuTTi. Ha tuonato il cannon. 
Cassio. £ la nave del Duce. 
MoNTANO. Or »' affonda, 

Or s' inciela . . • 
Cassio. Erge il rostro dair onda. 
Meta del Coro. Nelle nubi si cela e nel mar, 

£ alia luce dei lampi ne appar. 



Uno squillo ! 
Uno squillo I 



TuTTi. Lampi ! tuoni ! gorghi ! turbi tem- 

pestosi e fulmini ! 
Treman V onde, treman 1' aure, treman 

basi e culmini. 
Fende V etra un torvo e cieco spirto di ver- 

tigine, 
Iddio scuote il cielo bieco, come un tetro 

vel. . 
Tutto e fumo! tutto e fuoco! V orrida 

caligine. 
Si fa incendio, poi si spegne piu fun sta, 

spasima 



ACT FIRST.- 

Outside th|c Castle. 

A tavern with an arbor. In the background 
a quay and the sea. It is evening. Light* 
ntng and thunder accompany a hurricane. 



SCENE I. 



Iago, Roderigo, Cassio, Montano, and later 
on Otello. Cypriots and Venetian Soldiers. 

Cypriots. Ho ! a vessel J 

Soldiers. Ho ! a vessel ! 

First Group. Sailing yonder ! 

Second Group. See her ensign I 

Montano. 'Tis the Hon with wi.igs. 

Cassio. Now the flash shows her clearly. 

Voices. Hark, the thunder ! 

Voices. 'Tis a signal. 

All. Hark, the gun answer brings. 

Cassio. 'Tis the ship of the General. 

Montano. Now th' ttpheaving swell surrounds 
her. 

Cassio. Now the waves she is cleaving. 

Half of the Chorus. 

She is lost in the sea and the night, 
But the lightning reveals her to sight. 

All. Roaring tempest, rolling thunder. 
Bright as the day the lightning flash, 
Waves are surging high and monstrou^^ 
Where the battling whirlwinds clash. 
Through the air ts blindly rushing 
Now the spirit of the night. 
And the tempest-riven clouds 
Are like a funeral pall. 
Chidden billows, gushing skyward. 
Now reflect the lurid light of heaven, 
And now in deepened 
Darkness lies the world 



L* universe, accorre a valchi V aquilon fan- 

tasima, 
J titaiiici orica chi squillaiio nel ciel. 
(Entrano delfondo molte donne del popolo.) 



TuTTi. Dio, fulgor della bufera I 

Dio, sorriso della duna ! 

Salva ]' area e la bandiera 

Della veneta fortuna ! 

Tu, che reggi gli astri e il Fato I 

Tu, che imperi al mondo e al ciel I 

Fa che in fondo al mar placato 

Fqsi,!' dncora fedel. 
Tago. E infranto 1' artimon I 
KODERIGO. II rostro piombo 

Su quello sco^lio 1 
CoRO. Aita! 'aita! 
Jago (a parte). (L* alvo 

Frenetico del mar sia la sua tomba !) 
Cord. £ salvo ! salvo ! 
Voci Interne. Gittate i palischermi ! 

Mano alle funi ! Fermi ! 
Prima Parte Coro. Forza ai remi ! 
Sbconda Parte. 

{Scendono la scala dello spaldo,) 

Alia riva ! 
Voci Interne. All' approdo ! alio sbarco ! 
Altre Voci Interne. Ewiva ! Ewiva ! 

Otello. 
{Sal a scala della spiaggia salendo sullo spaldo 
con seguito di marinai e di soldati,) 
Esultate ! L'orgoglio musulmano 
Sepolto e in mar, nostra e del cielo h gloria 
Dopo r armi lovinse 1' uragarto. 



TuTTl. • Ewiva Otello 1 — Vittoria 1 vittoria I ! 
( Otello entra nella rdcca^ seguito da Cassto^ 
da Montana, e dai soldati.) 

CoRO. Vittoria ! Sterminio ! 

Dispersi, distrutti, 

Sepolti neir orrido 

Tumullo pcombAr. 

Avronno per requie 

La sferzadei flutti, 

La ridda dei turbi ni, } ' 

U abisso dei mar. ^^^^^ — ^ — zfr*. ^^^ 
Coro. Si calma la^ bufera. -t^jv^Jk?;^ 
Jaoo {in disparted Roderigof. ^oderigo, 
Eben, che pensi? 



i .1 



RoDERiGO. D' afTogarmi. • . 
Jagg. Stoto 

& chi s' affoga-per amor di donna.. 



List to the north wind's trumpet, 

Before its breath the spectral 

Clouds are onward hurled, 

And with their abysmal darkness 

Now they cover all. 

{Several women of the people enter, ^ 

KiA.. God, whose wrath has roused the waters^ 

At whose smile the whirlwind tarries. 

Save, oh, save the noble galley, 

That Venetia's fortunes carries ! 

Thou who rulest earth and oceans, 

Stay the storm, command the tide I 

That the ship in shelt'ring harbor 

May at anchor safely ride. 
I AGO. Behold, the main sail's burst 1 
RoDERiGO. Her bow is hurried 

To the cliflf yonder ! 
Chorus. Bring rescue, bring rescue. 
I AGO (to himself). I fain would leave 

Her buried for the waves to cover I 
Chorus. The danger is over I 
Voices from Without. 

Abaft the halyards ready, 

Lower the cockboat steady. 
Cypriots. Man the shore boats I 
Soldiers. Hurry strandward ! 

{They descend the steps of the quay.) 
Voices Behind. Pull together, to landward ! 
Other Voices Behind. Be welcome! Be 

welcome I 
Othello. {Ascends the steps leading from 

the shore to the quay^ followed by sailors 

and soldiers.) 

Hear glad tidings ! Our wars are done. 

The ocean has 'whelmed the Turk. 

Heav'ns be and our the glory 1 

What our weapons had left. 

The storm has scattered. 
All. All hail, Othello! Vittoria! Vittoria! 
{Exit Othello into the castle^ followed by Cos* 
sio^ Montano^ and soldiers.) 

Chorus. Vittoria ! All scattered 

And broken, all scattered 

Their galleys are buried deep. 

Deep under the sea. 

Let rolling of thunder 

And rushing of waters, 
' And howling of whirlwinds, 

Their requiem be ! 
Chorus. The tempest is subsiding. 
Iago {aside to Roderigo). Roderigo, 

Well, now, what say'st thou? . 
Roderigo. Drowning, say I. 
Iago. Fool, 

Who talks of drowning for the love of 
woman ! 



RoDBRiGO. Vincer nol so. 

(Alcunt del popolo fortnano a un £ato und 
catasta di legna; la folia s* accalca intor' 
no turbolenta e curtosa,) 

Jago. Suvvia, fa senno, aspettar 

L' opra del tempo. A Desdemona bella, 
Che nel segjeto de' tuoi sogni adori. 
Presto in uggia veran oi foschi bacf 
Di quel se vaggio dalle gonfie labbra. 
Buon Roderigo, amico tuo-sincero 
Mi ti professo, ne in piii forte ambascia 
S ccorrerti potrei. Se un fragil voto 
Di femmina non h tropp' arduo nodo 
Pel genio mio n^ per 1' inferno, giuro 
Che quella donna sara tiia. M^as olta 
Bench' io finga d' amarlo, odie quel Moro — 



{JSntra Cassia; poi s' u isce a un crocchio di 
soldati,) 

(yago sempre in dispart e a Roderigo,') 

... £ una cagion delP ira, eccola, guarda. 

(^Indicando Cassia.) 

Queir azzimato capitano usurpa 
II grado mio, il grado mio che in cento 
Ben pugnate battaglie ho meritato 
Sal fu il voler d' Otello, ed io rimango 
Di sua Moresca signoria V alfiere ! 



i^Dalla catasta incaminciano ad alzarsi deiglabi 
difumo sempre piu densa.) 

Ma, come h ver che tu Roderigo sei, 
Cosi e pur certo che se il Moro io fossi 
Vedermi non vorrei d' attorno un Jago. 
Se tu m'oscolti . . . 

(yago conduce Roderigo verso ilfondo,) 

( Iljuoco divampa . / soldati j* ffollano intarno 
alle tavole delta taverna.) 

CoRO. Mentre dura il canto intorno at fuoco 
di gioia^ i tavernieri append ranno at per- 
golato deir asteria delle lanterne veneziane 
a vari color i che illumineranno gaiamente 
la scena^ 

Fuoco di gioia ! — 1* ilare vampa 
Fuga la notte -^ col suo splendor, 
Guizza, sfa villa — crepita, awam a 
Fulgido incendio — che invade il cor. 



Roderigo. What should I do ? 

{^Same of the people form a large pile of wood. 
The crowd gathers rounds noisy and 
curious.) 

Iago. Ho, now ! have courage, and wait 

For time working changes ; for the fair 

Desdemona, 
Whom in thy secret dr^'a mi ngs thou adorest. 
Will be weary right soon of dark embraces^ 
And of the swollen lips of yonder savage. 
Good Roderigo, thy mend for good and evil 
I have professed me ;' bide thou but the issue 
And thou art sure of me. '' if frail vows 
Twixt a Venetian and tbis Moor are not too 

hard "" ' 

For my wits and all the tribe of hell — 
Thou shalt enjoy and hold her as thy own. 

Now listen : 
Though in semblance hfs friend, I hate this 

Othello. 

{JBnter Cassia^ who joins a group of soldiers.) 

{/ago continues to speak aside to Roderigo.) 

And for the best of reasons, thou shalt hear. ^ 

Judgethei^^ 

{Pointing to Cassia.) >^^^^^^ir^ 

That masterly arithmetician usurps 

My place, a place which I had earned 

In many a well-contested battle 'twixt Chrif* 

tian and heathen^ . 
Yet in good time this Cassio is his lieuten« 

. ant, 
And I, God bless th^mack ! his Moorship's 

ancient 

( Clouds of smoke^ denser'- and denser^ begin tc 

rise from the pile,) 

It is as sure as thou Roderigo art, 
Were I the Moor I would not be Iago ; 
In following him I but myself do follow ; 
Nay, do but hear me . . . 

{Iago takes Roderigo aside,) 

( The fire flares up. The soldiers crowd aboui 
the tables of the tavern.) 

Ch orus . While they sing- around the fre^ the 
attendants of the tavern adorn the arbor 
. with Venetian lanterns of different 
colors-^ 



Flame brightly burning — flickering fire. 
That with its splendor — lightens the night« 
Shining and roaring — rising up still higheri 
Filling the heart — with bright rays of light 



Dal raggio attratti — vaghi sembianti 
Movono intorno — ^ mutando stuol, 
£ son fanciulle — dai lied canti, 
E son farfalle — daU' igneo vol* 



Arde la palma — col sicomorOjt 
Canta la sposa — col suo fedel, 
Suir aurea fiamoia — sul gaio coro 
Soffit r ardente — spiro del ciel. 



Fuoco di gioia-^ capidQ brilla! 
Rapido passa — fuoco d'amor ! 
Splende, s' oscura — palpita, osciUa,- 
L ultimo guizzo -— lampeggia e muon 



{Jl fuoco sispegne a poco a poco: la, hufera h 
cessata. Jago^ Roderigo,^ Cassio e parec- 
chi altri uomini cParme tntornoa un tavolo 
dove eke del vino; parte in piedi^ parte 
seduti, ) 

Jagg. Roderigo, beviam ! qua la tazza, 

Capitano. 
Cassig. Non b^o pill. 
Tago {avvicinando ilboccoUe alia tazza di Cas^ 

sio) . Ingoia 

Questo sorso. 
Cassig (ritirando il^icckiere), No» 

Jago. Gkiardal oggi impazza 

Tutta Cipro ! e una notte di gioia, 

Dunque . . . 
Cassig. Cessa. Gia m' arde il cervello 

Per un nappo vuotato. 
Jagg. Si, ancora 

Ber tu devi. AUe nozze d' Otello 

£ Desdemona ! 

TuTTi {tranne Roderigo). Ewiva ! 
Cassjg {alzando il bicchiere e bewendo un 
poco) . Essa infiora 
Questo lido. 
Jagg (sottovoce a Roderigo). Lo ascolta! 

Cassio Col vago 

Suo raggiar chiama i cuori a raccolta. 
Rgderigg. For modesta essa h tanto. 

Cassig Tu, Jago, 

Canterai le sue lodi t 
Jagg (a Roderigo), Lo ascolta. ( Forte a 
Cassio) . lo non sono che un critico. 



Cassig. 

D' ogni lode h piii bella. 



Edella 



Drawn to thy glowing — shapes of vagui 

semblance, ^ 
Hitlier and thither — Hitting are seen. 
Now to sweet maidens — they bear resem- 

blance, 
And then seem goblins — bom of thesheeiu 
Palm-wood is burning — and brightly glow- 
ing, 
List where the lover — sings to his love, 
And on the gladness — are softly flowing 
Sweet-scented breezes — breath from above. 

Flame brightly burning — first love's desires 
Vanish as quickly — as they arise. 
Buried in darkness — vanished is the fire. 
See, where the trembling — spark slowly 
dies. 

{The fire slowly dies out; the storm has ceased 
altogether. lago^ RoderigOy Cassio^ and 
some other soldiers are grouped around 
the table^ on which there ts wine; some sit* 
ting^ some standing.) 

LiGO. Roderigo, a glass ! now's your turn, my 

brave lieutenant ! 
Cassio. I drink no more. 
L^go (holds up the can to Cassio) * 
Just this one cup 

To please me. 
Cassig {drawing back). 

No! 
Iagg. Listen, there is revel 

In all Cyprus, and the gallants desire it. 

Therefore — 
Cassig. Leave me. Fve drunk but one cup 

To-night, and lo ! Fm unsteady. 
Iagg. Yet this toast 

You cannot shrink from : Here's to fair Des- 
demona 

And Othello ! 
All {except Roderigo) . We hail them ! 
Cassig {raising the glass and sipping the 
liquor). She is the blossom 

Of this island. 
Iagg {softly to Roderigo). 

You hear him ! 
Cassig. To whose bright, beaming 

Glance ev'ry heart must surrender. 
Rgderigg. 

Yet methinks she's right modest. 
Cassig. lago, 

Thou shalt chant now her praises. 
Iagg {softly to Roderigo) . 

You hear him! {Aloud to Cassio). 

I am nought if not critical. 
Cassig. And far above 

I All praise is her beauQr. 



J AGO {come sopra^ a Rodertgo^ a parte). 

Ti guarda 
Da quel Cassio. 

RoDBRiGO. Chetemi? 

Jago {sempre piu incalzante,) 

Ei fayella 
Gia con troppo boUor, in gagliarda 
Giovinezza lo sprona, e un astuto 
Seduttor che f ingombra il cammino. 
Bada. • • 

RoDERiGo. Ebben ? 

Jago. S' ei %* innebbria h perduto I 
Fallo ber. 

{A£ tavemieri.) 

Qua, ragazziy del vino ! 

(,y<^g'o r temple ire biechieri: una per sh^ uno 
per Roaerigo^ uno per Cassio, I tavernieri 
circolano colleanfore*) 

( y^S"^ ^ Cassio col bicchiere in mano : la folia 
gii si awicina e lo guard curiosamenie, ) 



I AGO {io Cass io, jg^Zgjj in hand). 



Iago {aside to Roderigo^ as above). 
Beware thou 
Of this Cassio 1 

RoDERiGo. And wherefore? 

Iago. He is handsome, 

Young, a voluble knave, and very nature 
Will instruct her to love him. He's a subtle 
Knave, the woman has found him already. 
Listen. 

RoDBRiGO. What then ? 

Iago. If he drinks he is ruined, 

Make him drink. 

{Calling to attendants.) 

Ho I ho, drawers ! Some wine, boys I 

{Iago f lis three glasses for himself^ Roderig9^ 
and Cassio* The drawers go round with 
cans,) 

Iago {to Cassio with glass in hand. The crowd 
draws nearer watching them curiously.) 







Then let 
I -naf 



me quaff the no - ble wine. From the 
fia fu • go • - la! . • . 



• • • 



can ni drink it A 
trin'Ca, tra can - na. 



tw^^rtsJ^ i Tiir r i 'i^fp'r e ir ^ ^T tftf■ ^ 



flipl - dier is but a man, . • life's but a span, Then 

pri " - ma che svam - • • pi ^ no can 

Cassio {to Iago, glass in hand). 



let .11 m drink; 
to ebiC'ChUr! 




\i \ \ji*j^ 



This 
Ques 



is a no - ble wine, a nee • tar red 

ta del pampi -no ve - ra - ce man 

Iago {to all). 



That with a mist, a 
na di va • ghe an • 







^^^^^^ 



mist di - vine 
- nu • go- la 



en-shrouds the head. 
neb-bie ilpen - sier. 

tr 



Who once has kiss'd it, . • . This ma - gic 
Chi al-Pe-sca ha mor-so . . • del di - ti - 




^m 



brink, Can-not re * sist it ; He must drink, he must drink, ev - er must drink, He must 
• ram - bo spa-vai • do e stam * bo 'bo be • va eon me^ be • va con me^ be - va^ 








RODBRIGO AND ChORUS. 



er, 



be 



er, cv • er, 



ev-er must drink 1 
bC'Va con me. 




•• p r~t n 



Who once has kissM 
CAe eUV i - jr0 ha mor 



it, . . . 
so, • . • 



This mag 

del di 



ic brink, 
H - ram 



w^^^ * ^- ^ 



Cannot re - 



t 



:j: 



i 



fist it. He must 

ved • doe stram - ^ 

RODBRIGO AND ChORUS. 



^£Lp-r I r ■ , I J._^J:ju. 



t 



J 



drink . . he must drink, 
be • va con te^ 



ev 

be 



er must drink. 
va con te. 



^ 



-x-^ 




3^ - ve con tCy 



he • ve con te, be 




m^ 




i ^Tf i S^, . . 



Be^va, be 



Pa, 



W 



// 



va. 



lA 




*' aJ*l J 



•?^j ii »"' 



t 



be-va, be 



w^ 



ve. 



ve, ie - ve. 



^^ 



"1 * ■ X ''f 



i 



be- ve con te. 





t 




i 



.s;_Sq_^||_2^ 



^ 



Jago {piano a Roderigo indicando Cassio) . 

Un altfo sorso 
£ brillo egli e. 

{Ad alia voce,) 

II mondo palpita 

Quand' io son brillo ! 

Sfido r ironico 

Nume e il destin ! 
Cassio {bevendo ancora)* 

Come un armonico 

Liuto oscillo ; 

La gioia scalpita 

Sul mio Cammin I 
Jagg ( come soprd) . 

Chi air esca ha morso 

Del ditirambo 

Spavaldo e strambo 

Beva con me ! 

TUTTI. 

Chi air esca ha morso 
Del ditirambo 
Spavaldo e strambo 
Beve con me ! 



Iago {softly to Roderigo^ pointing to Cassio"^ 
One other glass and he must sink. 

{Aloud,) 

The world looks all awry 

When I'm imbibing. 

Drinking I can defy 

Fate and its gibes. 
Cassio {drinking again) • 

Like an harmonious 

Lute I resound, 

Happy and glorious 

The world around. 
Iago {as above) . 

Who once has kissed it. 

This magic brink, 

Cannot resist it ; 

He ever must drink. 
Chgrus. 

Who once has kissed ity 

This magic brink, 

Cannot resist it ; 

He must ever drink. 



9 



jAGOia Roderigo). (Un altro sorso 
Ed ebbro egli e.) 

(Ad alia voce.) 

Fuggan dal vivido 
Nappo i codardi 
Che in cor nascondono 
Frodi e mister. 

Cassio {alzando 11 b techier e^ al colmo delP esal- 
azioneJ) 

In fondo all' anima 
Ciascun mi guardi ! 

(beve) 

Non temo il ver . • . 

{barcollando) 

Non temo il ver ... — e bevo • • • 
TuTTi {ridendo). Ah ! Ah ! 

Cassio. Del calice 

Gli orli s' imporporino ! . . . 

Jagg (a Roderigo^ in disparte mentre gli 
altri ridono di Cassio) . 

Egli e briaco fradicio. Ti scuoti. 
Lo trascina a contesa ; e pronto all' ira, 
T' ofTendera . . . ne segiiira tiimulto ! 
Pensa che piioi cosi del lieto Otello 
Turbar la prima vigilia d'amore 1 



RoDERiGo {risoluto) . Ed h ci6 che mi spinge) 

Mont AND {entrando e rivolgendosi a Cassio). 

Capitano, 
V attende la fazione ai baluardi. 

Cassio {barcollando) . Andiam ! 

MoNTANO. Che vedo? 1 

Jagg (a Montano), Ogni notte in tal guisa 

Cassio prelu'lia ai sonno. 
Mgntang. Otello il sappia. 
Cassig (come sopra), 

Andiaino ai baluardi • • • 
Rgderigg {poi iutii). 

Ah! Ah! 
Cassig. Chi ride? 
Rgderigg ( provocandolo) . 

Rido d'un ehro . . . 
Cassig {scagliando i contro Roderigo). 

Bada alle tue spalle I 

Furfante ? 
Rgderigg ( difendendosi) . 

Briaco ribaldo ! 
Cassig. Mariano I 

Nessun piu ti salva. 



Iagg {to Roderigo). One other glaio 
And he must sink. 

(7b a//, aloud.) 

From this good company 
Cowards avaunt 1 
Whose bosom 
Treach'rously — 

Cassig {interrupting) . 

My heart lies open 
To ev'ry good fellow. 

{He drinks.) 
I do not fear, not I. 

( Tottering.) 

I do not fear, while drinking. 
All {laughing). 

Ah! Ahl 
Cassig. The beaker's 

Brimming, brimming with noble wine. 

Iagg {to Roderigo). 

He is as drunk as man can be. Now hie 

thee 
To provoke him to combat, he's rash in 

choler, 
And he may strike and thus some tumult 

follow, 
Then shalt thou cry a mutiny 
And thereby disturb the Moor in the arms 
of his love. 
Rgderigg {with determination). 

Trust in me for the issue. 
Mgntang {entering from the castle and ad- 
dressing Cassio). 

Good Lieutenant Cassio, 

Go thou to keep the watch upon the bastion. 
Cassig {tottering). Let's go then. 
Mgntang. What see I ? 
Iagg {to Montano). 'Tis forever the prologue 

That goes before his sleeping 
Mgntang. The Moor should know it. 
Cassig {as above) . 

Who follows to the bastion? 
Rgderigg (then all.) 

Ahl Ah! 
Cassig. Who laughs there? 
Rgderigg {provoking him) • 

I laugh at drunkards. 
Cassig {pushing against Roderigo). 

Knave, thee I will punish 1 

Take this then ! 
Rgderigg {defending himself). 

Thou villanous drunkard 1 
Cassig. Thou villain I 

No mercy shall save thee. 



10 



MoNTANO {separandoli a forza e dirigendosi 
a Cassio), 

Frenate la mano, 
Messer, ve ne prego. 
Cassio (a Afontano). 

Ti spacco il cerebro. 
Se qui t' n terpen i. 
MoNTANO. Parole d* un ebro. 
Cassio. D'un ebro? ! 

(Cassio sguaina la spada, Montano s^arma 
anch^esso. Assalto furibondo^ La folia si 
ritrae.) 

Jago {a parte a Rodrigo rapidamente) . 

(Va al porto, con quanta piu possa 
Ti resta, gridando : sommossa ! sommossa ! 
Va ! spargi il tumulto, T orror. Le campane 
Risuonino a stormo.) 

{Roderigo esce correndo.) 

\yago ai combattenti esclamando,) 

Fratelli ! T immane 
Conflitto cessate ! 
MoLTE Donne Del Coro {/uggendo). 

Fuggiam ! 
Jago. Ciel 1 gia .gp-onda 

Di sangue Montano I Tenzon furibonna I 

Altrb Donne. Fuggiam. 
Jago. Tregua ! 
TuTTi, Tregua ! 
Donne (Juggendo). 

S' uccidono ! 
UoMiNi (ai combattenti). 

Pace! 
Jago ( agli astanti) , 

Nessun piu raffrena quell' ira pugnace ! 

Si gridi V allarme ! Satana li invade ! 
Voci (in scena e dentro) . 

Air armi ! ! 

( Campane a stormo.) 
TuTTi. Soccorso ! I 



SCENA 11. 

Otbllo, Jago, Cassio, Montano, Popolo^ 
Solaati: piii tardi Desdemona. 

Otello (jseguito da genti con JiaccoU) , 
Abbasso le spade ! 

{H combattenti s* arrestano. Montano / appog- 
gia a un soldato.) 
(Le nubi si diradano a poco a poco^ 



Montano (separating them, to Cassio)* 

Peace, peace, good lieutenant ! 
No bloodshed, I pray you. 

Cassio {to Montano). 

ril knock out your brains, 

If you dare thus to thwart me. 
Montano. Come, come, you are tipsy. 
Cassio. I tipsy ! 

( Cassio draws his sword ^ as does also Montana, 
luirious onslaught. The crowd move away,) 

I AGO {aside to Roderigo) . 

Now hasten with all that of speed 

Thou canst summon, go crying — a tiot! 

a riotl 
Help ! Thus spread the tumult abroad, 
Let them ring all the bells in the fortress. 

(Exit Roderigo^ running,) 

(Jago turns rapidly to the two antagonists,) 

I pray you, 

Montano, good Cassio, cease fighting ! 
Several Women of the Chorus (flying). 

Away I 
Iago. Zounds 1 

Montano is bleeding, is dying! Oh, terrible 
combat ! 
Other Women. Away ! 
Iago. Rescue. 
All. Rescue. 
Women (flying). Their blood is up. 

Men {to the fighters). Peace. 
Iago (to the present ones). 

There's nought to allay their murderous 
fury! 

Ho ! call an alarm ! The devil is rampant I 
Voices (on the stage and behind) . Alarum I ! 



(Bells ringing.) 



All. a rescue. 



SCENE II. 



Othello, Iago, Cassio, Montana, Cypriote* 
Soldiers ; later on^ Desdemona. 

Othello (follorwed by men bearing torches). 
Ho ! Down with your weapons ! 

( The fight ceases. The crowd gradually di^ 

perses.) 



11 



Ola I che a wien ? son io fra i Saracen! ? 
O la turchesca rabbia e in voi trasfusa 
Per sbranarvi 1* un V altro? . . . Onesto Jago, 
Per queir amor che tu mi porti, parla. 



Jago. 

Non so • . qui tutti eran cortesi amici, 
Dianzi, e giocondi . . . ma ad un tratto, 

come 
Se un pianeta maligno avesse a quell! 
Smag^to il serno, sguainando 1* arme 
S' awentano furenti . . . avess' io prima 
Stroncati i pie che qui m'addusser I 

Otbllo. Cassio, 

Come obliasti te stesso a tal segno ? • • • 

Cassio. 

Grazia . . • perdon • • . parlar non so . • • 
Otello. Montano . . • 

MoNTANO {sostenuto da un soldatd) . 

Io son ferito . . . 
Otello. Ferito! . . . pel cielo 

Gia il sangue mio riboUe. Ah ! T ira volge 

L' angelo nostro tutelare in fuga ! 

\Entra Desdemona; Otello accorre ad essa,) 

Che? ... la mia dolce Desdemona anch'' 

essa 
Per voi distolta da' suoi sogni ? ! — Cassio, 
Non sei piii capitano. 

[Cassio lasci'a cadere la spada che e raccoHa 

da Jago, ) 

Jagg {porgendo la spadu di Cassia a un 

ufficiale). 

(Oh ! mio trionfo !) 
Otello. Jaso, tu va nella citta sgomenta 
Con que la squadra a ricompor la pace. 



{Jago esce.) 

Si soccorra Montano. 

{Montano e accompagnato nel castello.) 

Al proprio tetto 
Ritomi ognun. 

{A tutti^ imperiosamente.) 

Io da qui non mi parto 
8e pria non vedo desert! gli spaldi. 

(^La scena sivuotaJ) ' 



Why how 1 now ho ! from whence ariseth 

this ? 
Are we tum'd Turks, and to ourselves do 

that 
Which heaven's mercy sav'd us? Honest 

Speak, who began this? On thy love 1 

charge thee. 
Iago. Alas ! I know not ; friends all but now. 
In terms like bride and bridegroom : sud- 

denly like men 
Who by some madness are smitten, or by 

the planet 
Of opposition, they draw their weapons. 
Till one another's breast — Ah! would in 

action 
I had lost the legs that brought me hither ! 
Othello. Cassio, 

That you are thus forgot, say, how comei 

it? 
Cassio. Pardon — I pray ; I cannot speak. 

Othello. Montano. 

MoNTANO {leaning on a soldier) , 
I am wounded. 

Othello. You wounded ! By heavens, 

My blood begins to rule, yea, and resistless 
Passion assays to lead the way to judgment ! 

{Enters Desdemona ; Othello runs towards 

her.) 

Look, if the sweet Desdemona, my gentle 

love, 
Be not raised up from slumber I — Cassio, 
Thou'rt no more my lieutenant. 

( Cassio drops his sword and Jago picks it up,) 

Iago {handing Cassio* s sword to a soldier) • 

At last I triumph ! 

Othello. 

Look thou, Iago, now about the city, 
And silence those whom this vile brawl difr 
tracted. 

{Exit Iago.) 

Give all aid to Montano. 

{Montano is led into the castle,) 

And now to rest.. 
Let all men return. 

{To ally with a gesture of command.') 

I alone shall be watching, 
Until I see that at peace is the city. 

( The stage is empty.) 



12 



SCENA IIL 
Otello e Desdemona. 

Otello. Gia nella notte densa 
S* estingue ogni clamor. 
Gia il mio cor fremebondo 
S' ammansa in quest' amplesso e si risensa. 
Tuoni la guerra e s* inabiesi 11 mondo 
Se dopo r ira tcnmensa 
Vien qiiesto immense amor ! 

Desdemona. Mio £»Uperbo guerrier ! quant i 
tormenti, ; , . 
Quanti me sti sos piri e quanta speme 
Ci condusse ai soavi abbracciamenti ! 
Oh 1 com' e dolce il mormorare insieme : 
Te ne rammenti ! 
Quando narravi V esule tua vita 
£ i fieri eventi e i lunghi tuoi dolor, 
Ed io t' udia coU' anima rapita 
In quei spaventi e coll' estasi in cor. 



^Otello. Pingea dell' armi il fremito, la pugna 
£ il vol gagliardo alia breccia mortal, 
L' assalto, orribil edera coll' ugna 
Al baluardo e i( sibilante stral. 

Desdemona. Poi mi guidavi ai fulgidi deserti, 
Air arse arene« al tuo materno suol, 
Narravi allor gli spasimi sofTerti 
£ le catene e dello schiavo il duol. 



Otello. Ingentilla di lagrime V istoria 
II tuo bel viso e il labbro di sospir ; 
Scendean sulle mie tenebre la gloria, 
II paradiso e gli astri a benedir. 

Desdemona. Ed to vedea fra le tue tempi 
oscure 

Splender del genio I'eterea belta. 
Otello. E tu m'amavi per le mie sventure 

Ed io 't amavo per la tua pieta. 




Otello. Venga la morte I mi colga nell' estasi 
Di quest' a plesso 
II momento supremo I 

(// cielo si sara rasserenato.) 

Tale e il gaudio dell' anima che temo, 
Temo che piu non mi sara concesso 



SCENE III. 

Othello and Desdemona. 

Othello. Dark is the night and silent, 
AH blatant clamors cease, 

tAlI the storm of my passion 
In this embrace is stilled to perfect peace. 
May the winds blow till they have waken'd 

death, 
If after every tempest comes such a calm of 
love ! 
Desdemona. Oh ! my noble warrior, what 
bitter sorrow 
And what long-urawn sighs, what hopes 

deferred, 
Have safely guided us twain to these em- 
braces \ 
Ah I it is sweet to whisper to each other : 

ost thou remember 
When thou didst speak of some distressful 

stroke, 
Thy youth had suffered from thy boyish 

days? 
To hear this I did seriously incline. 
With greedy ear devour would thy course. 
Othello. Wherein I spake of sieges, of bat- 
tles, 
Of hair breath 'scapes in the deadly breach. 
Of dangers, and moving accidents, by flood 
And field, and of impending death. 
Desdemona. Wherein of antres vast and des- 
erts idle. 
Rough quarries, rocks and hills whose 

heads touch heaven. 
It was thy hint to 8p>eak, and of the tor- 
ments 
Borne by thy noble self, to slavery sold. 
Othello. And I did oft beguile thee of thy 
tears, 
And for my pains receive a world of sighs ; 
Upon the darkness of my soul then broke 
The heavenly brightness that is of paradise. 
Desdemona. I saw Othello's visage in his 
mind. 
And thus to him did my soul consecrate. 
Othello. You loved me for the dangers I had 
passed. 
And I loved you, that you did pity them. 



Othello. Were it to die now, 'twere to bo 
now most happy, 
While thine arms surround me 
In tender embraces — 

(^The sky is now become quite clear,) 

For I fear that my soul hath her content, 



13 



Quest' attimo divino 

Neir ignoio avvenir del mio destino. 



Desdemona. Disperda il ciel gli affanni 
£ Amor non muti col mutar degl' anni. 

Otello. a questa tua preghiera 

Amen risponda la celeste schiera. 
Desdemona. Amen risponda. 

Otello {afpoggiandosi ad un rialzo degli 

spaldi) • 

Ah ! la gioia m'innonda 

Si fieramente . • . che ansante mi giacio . • . 

Un bacio ... 
Desdemona. Otello! . . . 
Otello. Un baclo . . . ancora un bacio 

{Fissandi unaplaga del cielo stellate) 

Gia la pleiade ardente al mar discende. 
Desdemona. Tarda e la notte. 
Otello. Vien • . . Venere splende. 

(5* awiano abbracciati verso il castello.) 



So absolute, that not another comfort 

Like unto that, which at this hour I caK 
mine own, 

Succeeds in unknown fate. 
Desdemona. By heaven's all gracious power 

Our love shall, aye, increase, e'en as out 
days do grow. 
Othello. Ah 1 may to thy sweet prayer 

Amen respond the choir of heav'nly voices 
Desdemona. Amen their answer ! 

Othello {leaning against the parapet of the 
quay) . 

Ah ! this joy will overwhelm me- 
This is too much, it stops me — I stagger. 
A kiss. 

Desdemona. . Othello! 

Othello. A kiss, and yet another kiss. 

(Rising and looking up to the sky.) 

See the Wain is declining in the sky. 
Desdemona. Late is the night. 
Othello. Come, Venus stands on high. 

{Exeunt^ clinging to each other^ toward 
the castle.) 



14 



ATTO SECONDO. 

Una Sajla Terrsxa nkl Castkujo. 

Due vasti veroni at lait: t 

eke dk smi gimrdima 



ACT SECOND. 

A HALX.OS THB GSOCXD FliOOK OF THS CaSTLB. 




SCENA PRIMA. 

yago al di qua del vertme. Cassia aldi ta, 

|ago. Non ti crucciar. Se credi a me, 
poco« 
Farai ritomo ai fbUcggiaiiti imiori 
Di Monna Biaaca, altiero capitamo. 
Coll' elsa d* ora e col balteo finegiato. 

Cassio. Non lusingamii . . • 
Jagg. Attendi a cio ch' io dico. 

Tu dei saper che Desdemona e it Duce 
Del itostro Duce« sol per essa ei vive. 
Pregala tu, quell* anima cortese 
Per te interceda e il tuo peidono e ccrtD. 



SCENE L 



Cassio. Ma come favellarle? 

Jago. E suo costume 

Girsene a meriggiar fra quelle fronde 
Col la consorte mia. Quivi 1* aspetta* 
Or t' e aperta la via di salva zione ; 
Vanne. 

(^Cassio s* allotauna.) 



* 

I Lago. XaT« do not finct. Trust but in me, I 
tra . promise 

I TlKHilt bask OQce more in the bright beam- 

ing glances 
j Of Mistress Bianca, as <lapper a lieutenant 
* As ever thou wert, with gilded hilt and 

I baldrich. 

{ Cassio. Do not deceire roe. 
Lago. Xaj, hear bat what I counsel. 

I Our gen*ral's wife, as thou must know, is 

' now 

Our gen*ral*s gen*ral, be her humble ser- 
vant ; 
Importune her, hers is so kind, so blessed, 
A disposition, that she will work your par- 
■ don. 

' Cassio. But how to gain her presence? 
Iago. It is her wont 

I To rest at noon of day in yonder arbor ; 

Talking with my wife. 'Here, then, await 

her. 
The road I've shown thee that leads to thy 

salvation. 
Go then. ( Cassio goes taspards ike Bad.) 



SCENA ir. 



Jago {solo) [seguendo colP occhio Cassio) . 
Vanne ; la tua meta gia vedo. 
Ti spinge il tuo dimone, 
£ il tuo dimon son io, 
£ me trascina il mio, nel quale io credo 
Inesorato Iddio : 

{^Allontanandosi dal verone senza pin guardat 
Cassio che sara scomparso tra gii alberi,) 

— Credo in un Dio crudel che m' ha creato 
Simile a se, e che iiell* ira io nomo. 

— Dalla vilta d' un germe o d' atomo 



SCENE II. 

Iago {alone). {Following Cassio -wiikkis eye.) 
Go then ; well thy fate I descry. 
Thy demon drives thee onward, 
That demon, Io I am I ; 
E'en as mine own impels me, on whose 
Command I wait, relentless Fate. 

{He comes forward without taking furtkef 
notice of Cassio^ wko disappears.) 

Cruel is he, the God who in his image 
Has fashioned me and whom in wrath I 

worship. 
From some vile germ of nature, some pal- 
try atom, 









! 



15 




Vile son nato. 
Son scelierato 
Perch^ son uomo ; 

"^nario in me. 
Si ! questa 6 la mia f^ ! 

redo con fermo cuor, siccome crede 
La vedovella al tempio, 
Che il mal ch' io penso e che da me pro- 
cede 
Per mio destino adempio. 
Credo che il giusto e un istrion befTardo 
E nel viso e nel cuor, 
Che tutto e in lui bugiardo : 
Lagrima, bacio, sguardo, 
Sacrificio ed onor. 
E credo Tuom gioco d' iniqua sorte 
Dal germe della culla 
Al vermo dell' avel. 
Vien dopo tanta irrision la Morte. 
E poi ? — La Morte e il Nulla 
£ veccbia fola il Ciel. 



I I took mine issue. 
Vile is my tissue^ 
For 1 am human. 

I feel the primal mudflow of my breed* 
Yea I This is all my creed, 
Firmly I do believe as e'er did woman 
Who prays before the altar, 
Of ev'ry ill whether I think or do it, 
'Tis Fate that drives me to it. 
Thou, honest man, art but a wretched 

player, 
And thy life but a past ; 
A lie each word thou sayest. 
Tear-drops, kisses, prayers, 
Are as false as thou art. 
Man's fortune's fool, e'en from his earlieit 

breath. 
The germ of life is fashioned 
To feed the worm of death, ^ 
Yea, after all this folly all must die, 
And then ? And then there's nothing. 
And heav'n an ancient lie. 



(^Dal verone di sinistra si vede passare nel 
giardino Desdemona con Emilia. Jago si 
slancia al verone ^ al di la del quale si sard 
apposta o Cassia.) 

Jago (parlando a Cassia). 

Eccola • . . Cassio . • a te • . 

. . Questo h il momento. 
/Ti scuoti . • . vien Desdemona. 

(^Cassia va verso Desdemona ^ la saluta, le s' 

accosta.) 

S' e mosso ; la saluta 

E s' avvicina 

Or qui si tragga Otello! . • • aiuta, 

aiuta 
Satana il mio cimento ! • • • . 

{Sempre al verone^ osservando^ ma un poco 
discosto.) 

{Sivedono ripassare nel giardino Cassio e Des- 
demona.) 

Gia conversano 4nsieme • • • * ed essa 

inclina, 
Sorridendo il bel viso. 
Mi basta un lampo sol di quel sorriso 
Per trascinare Otello alia ruina 
Andiam ... 

^JPa per avviarst rapido air uscio del lata 
destro ma s^arres a subilamente.) 



{^Desdemona and Emilia are seen to enter ike 

f'arden. lago goes toward the terrace^ 
eyond which Cassio has taken his post" 
tion.) 

Iago {to Cassio). 

Now, take care. Cassio ! To her I This !• 

the moment. 
Now haste thee, Desdemona comes. 

{Cassio goes to Desdemona ^ bows to her and 

Joins her.) 

He's near here ; and he greets her 

And does accost her. 

Now must I fetch Othello! Divinities of 

hell, 
I call upon your succor. 

( Cassio and Desdemona are seen passing bach^ 
ward and forward in the garden.) 



They are talking in whispers, and now \m 

him 
Has she inclined her gentle visage. 
Ay, smile upon her, do ! An excellent cour 

tesy. 
This smile shall lure Othello to his ruin. ^ 
To work ! 

{He goes rapidlv toward the door^ but suddenly 
stops. 



J 






14 



ATTO SECONDO. 

Una Sala Terrkna nbl Castbllo. 

Due vastt veroni at lati : una porta nel mezzo 

che di sul g-iardino. 



SCENA PRIMA. 

yaffo al di qua del verone. Cassio aldi la. 

[ago. Non ti crucciar. Se credi a me, tra 
poco, 
Farai ritorno ai foU'eggiantt amori 
Di Monna Bianca, altiero capitano, 
Coir elsa d' ora e col balteo fregiato. 

Cassio. Non lusingarmi • . . 

Jago. Attendi a ci6 ch* lo dico. 

Tu del saper die Desdemona e il Duce 
Del hostro Duce, sol per essa ei vive. 
Pregala tu, quell* anima cortese 
Per te interceda e il tuo perdono e certo. 



Cassio. Ma come fayellarle? 
Jago. E suo costume 

Girsene a meriggiar fra quelle fronde 

Colla consorte mia. Quivi 1* aspetta. 

Or t' e aperta la via di salva zione ; 

Vanne. 

{^Cassias allotauna.) 



SCENA IT. 



Jago (solo) (seg'uendo colP occhio Cassio) . 
Vanne ; la tua meta gia vedo. 
Ti spinge il tuo dimone, 
E il tuo dimon son io, 
E me trascina tl mio, nel quale io credo 
Inesorato Iddio : 

{Allontanandosi dal verone sen::a piu giiardat 
Cassio che sara scomparso tra gli alberi. ) 

— Credo in un Dio crudel die m' ha creato 
Simile a se, e che nell* ira io nomo. 

— Dalla vilta d' un germe o d* atomo 



ACT SECOND. 

A HALL ON THE GROUND FLOOR OF THE CaSTLB* 

A glass partition divides it from a large gar* 
den at back. A terrace. 



SCENE I. 



Iago. Nay, do not fret. Trust but in me, I 
promise 
Thou*lt bask once more in the bright beam- 
ing glances 
Of Mistress Bianca, as dapper a lieutenant 
As ever thou wert, with gilded hilt and 
baldrich. 
Cassio. Do not deceive me. 
Iago. Nay, hear but what I counsel. 

Our gen'ral's wife, as thou must know, is 

now 
Our gen'ral's gen'ral, he her humble ser- 
vant ; 
Importune her, hers is so kind, so blessed, 
A disposition, that she will work your par- 
don. 
Cassio. But how to gain her presence ? 
Iago. It is her wont 

To rest at noon of day in yonder arbor ; 
Talking with my wife. Here, then, await 

her, . , 

The road I've shown thee that leads to thy 

salvation. 
Go then. ( Cassio goes towards the back.) 



SCENE II. 

Iago (alone). {Following Cassio with his eye.) 
Go then ; well thy fate I descry. 
Thy demon drives thee onward. 
That demon, lo ! am I ; 
E*en as mine own impels me, on whose 
Command I wait, relentless Fate. 

(He comes forward without taking further 
notice of Cassio <i who disappears,) 

Cruel is he, the God who in his image 
Has fashioned me and whom in wrath I 

worship. 
From some vile germ of nature, some pal- 
try atom. 



15 




Vile son nato. 
Son scellerato 
Perch^ son uomo ; 

"^nario in me. 
Si ! questa e la mia fe ! 
Credo con femno cuor, siccome crede 
La vedovella al tempio, 
Che il mal ch' io penso e che da me pro- 
cede 
Per mio destino adempio. 
Credo che il giusto e un istrion beffardo 
£ nel viso e nel cuor, 
Che tutto e in lui bugiardo : 
Lagrima, bacio, sguardo, 
Sacrificio ed onor. 
£ credo Tuom gioco d' iniqua sorte 
Dal germe della culla 
Al vermo dell' avel. 
Vien dopo tanta irris'ion la Morte. 
£ poi ? — La Morte e il Nulla 
£ vecchia fola il Ciel. 



(^Dal verone di sinistra si vede passare nel 
giardino Desdemona con Emilia. Jago si 
slancia al verone y al di Id del quale si sard 
apposta Cassio.) 

Jago {parlando a Cassia). 

£ccola . . . Cassio . . a te • . 

. . Questo e il momento. 
fTi scuoti . . . vien Desdemona. 



I took mine issue. 

Vile is my tissue, 

For 1 am human. 

I feel the primal mudflow of my breed. 

Yea I This is all my creed, 

Firmly I do believe as e'er did woman 

Who prays before the altar, 

Of ev'ry ill whether I think or do it, 

'Tis Fate that drives me to it. 

Thou, honest man, art but a wretched 

player, 
And thy life but a past ; 
A lie each word thou sayest. 
Tear-drops, kisses, prayers, 
Are as false as thou art. 
Man's fortune's fool, e'en from his 

breath. 
The germ of life is fashioned 
To feed the worm of death, v 
Yea, after all this folly all must die, 
And then ? And then there's nothing. 
And heav'n an ancient lie. 



CCassio va verso Desdemona^ la saluta^ le s* 

accosta,) 

S' e mosso ; la saluta 

£ s' avvicina 

Or qui si tragga Otello! • • • aiuta, 

aiuta 
Satana il mio cimento ! • . . 

» 

{Sempre al verone^ osservando, ma un poco 
disco sto.) 

{Sivedono ripassare nel giardino Cassio e Des- 
demona.^ 

Gia conversano insieme • • ^* ed essa 

inclina, 
Sorridendo il bel viso. 
Mi basta un lampo sol di quel sorriso 
Per trascinare Otello alia ruina 
Andiam ... ; 

^jPa per avviarsi rapido alP usc/o del lata 
destro ma s'arres a subiiamente.) 



{^Desdemona and Emilia are seen to enter tke 
garden. lago goes toward the terrace^ 
beyond which Z^assio has taken his post* 
tion.) 

Iago {to Cassio). 

Now, take care. Cassio ! To her ! This !• 

the moment. 
Now haste thee, Desdemona comes. 

( Cassio goes to Desdemona^ bows to her and 

Joins her.) 

He's near here ; and he greets her 

And does accost her. 

Now must I fetch Othello ! Divinities of 

hell, 
I call upon your succor. 

( Cassio and Desdemona are seen passing bach^ 
ward and forward in the garden.) 



They are talking in whispers, and now \m 

him 
Has she inclined her gentle visage. 
Ay, smile upon her, do ! An excellent cour 

tesy. 
This smile shall lure Othello to his ruin. * 
To work I 

{^He goes rapidlv toward the door^ but suddenfy 
stops. 



/ 



16 



Ma il caso in mio favor s* adopra. 
Eccolo . • • al posto, all' opra. 

(Si colloca immoto al veron^ di sinistra^ guar" 
dando fissamente verso il giardino^ dove 
stanno Cassio e Desdemona.) 



SCENA III. 

Jago e Otkllo. 

Jago {sttnulando di non aver visto Otello ti 
quale gli si sara awicinato) . 
i^Finge do di parlare fra seo). 

Cio m' accoro . . . 
Otkllo. Che parli? 
Jago. Nulla . . . voi qui? una vana 

Voce iti' usci dal labbro • • • 

Otello. Colui che s* allontana 

Dalla mia sposa, h Cassio? 
Jago {e V uno e V altro si staccano dal verone) . 
Cassio? no • . . quei si scosse 

Come un reo nel vedervi. 
Otello. Credo che Cassio ei fosse. 
' Jago. Mio signore . . . 
Otello. Che brami? . . . 
Jago. Cassio, nei primi di 

Del vostro amor, Desdemona non conos- 
ceva? 
Otkllo. Si. 

Perch6 fai tale inchiesta? 
Jago. II mio pensiero e vago 

D' ubbie, non di mali'zia. 
Otello. Di' il tuo pensiero, Jago. 
Jago. Vi confidaste a Cassio? 
Otello. Spesso un mio dono o'un cenno 

Portava alia mia sposa. 
Jago. Dassenno? 
Otello. SI, dassenno. 

Nol credi onesto ? 
Jago. Onesto ? 

Otello. Che ascondi nel tuo core? 
Jago. Che ascondo in cor, signore? 
Otello. ** Che ascondo in cor signore?" 

Pel cielo ! tu sei 1' eco dei detti miei, nel 
chiostro 

D li' anima ricetti qualche terribil mostro. 

Si ben t' udii poc' anzi mormorar : cib m* 
accora. 

Ma di che t' accoravi ? nomini Cassio e al- 
lora 

Tu corrughi la fronte. Suwia, pari a se 
m' ami. 
Jago. Voi sapete ch' io v' a mo. 



And in tl>is net I will enslave him. 

See, he comes. Good luck I I have him 1 

(^He leans motionless against a column^ looking 
intently^ toward the garden where Cassio 
and Desdemona are standing together.) 



SCENE III. 



Iago and Othello, 



Iago {^pretending not to see Othello^ and to h€ 
talking to himself) . 

This I like not. 



Othello. What say'st thou ? 

Iago. Nothing. You here? 

Or, if aught, some idle word has escaped 
me. 
Othello. Was he who just now parted 

From Desdemona not Cassio ? 
Iago (Jtoth come forward from the terrace). 

Cassio? no. He in such wise. 

Guilty-like, would not leave her. 
Othello. I do believe 'twas Cassio. 
Iago. No, my lord. 
Othello. What think you ? 
Iago. Nothing. Did Michael Cassio, 

When . you woo'd my lady, know of your 
passion ? 
Othello. Yes ; 

Wherefore dost ask the question ? 
Iago. But for a satisfaction • 

Of my thought, no further harm. 
Othello. Why of thy thought, Iago? 

Iago. And did you trust in Cassio? 
Othello. He went between us oft. 

Talking tender words to my lady 
Iago. Indeed? 

Othello. Ay, indeed ! 

Is he not honest? 
Iago. ^ He honest? 

Othello. Discern'st thou aught in that? 

Iago. I^iscem I aught in that? 
Othellc^ " Discern I aught in that? 

By leaven, he does echo each word I say ; 

As if-^n his thought there were some mon- 
r too hideous to be shown. 

Yea, J^ myself have heard thee say e'en 
noy : ''This I like not." 

Tell mel then, what did'st not like ? {Look* 
ifig^t Cassio,) 

Thou ditt'st contract thy brow together. 
Oh, ^eak, if thou dost love me ! 
Iago. Well y^know that I love you. 



M 



I 



\ 



17 



Otbllo. Dunque senza velami 

T* esprimi e senza ambagi. T* esca fuor dalla 
gola 
II tuo pill rio pensiero colla piu ria parola ! 

Jago. S' anco teneste in mano tutta 
r anima mia 
Nol sapreste. 
Otkllo. Ah ! 

Jago {awicinandosi molto ad Otello e sot' 
tovoce) . 

Temete, signor, la gelosia I 
£ un' idra fosca, livida^ cieca, coi suo veleno 
Se stessa attosca, vivida piaga le squarcia il 
seno. 

Otello. Miseria mia ! ! — No 1 il vano sospet 

tar nulla giova. 
Pria del dubblo Tindagine, dopo 11 dubbia 

la prova, 
Dopo la prova (Otello ha sue leggi supreme,) 
Amore e geliosa vadan dispersie insieme 1 



Jago {con piglio f>lu ardito), 

Un tal proposto spezza di mie labbra il sug- 

gello. 
Non parlo ancor di prova ; pur, generoso 

Otello, 
Vigilate, soventi le oneste e ben create 
Consci'enze non vedono la frode : vigilate. 
Scrutate le parole di Desdemona, un detto 
Puo ricondur la fede, pu6 affermare il so- 

spetto . . • 
Eccola ; vigilate • . • 



{Sivede ricomparire Desdemona nel giardinOy 
dalla vasta apertura delfondo: ^ circon- 
data da Donne ^ da Fanciulliy da Marinai 
. cipriotti e albanesty die si avanzono e le 
offrono fiori ed altri doni. Alciini s* ac- 
compagnafiOy cantando, sulla guzla^ dltri 
sii delle piccole arpe,) 

CoRO {nei giardino) , 

Dove guardi splendono 
Raggi, avvampan cuori, 
Dove passi scendono 
Nuvole di fiori. 
Qui fra gigli e rose 
Come a un casto altar, 
Padri, bimbi, spose 
Vensrono a cantar. 



Othbllo. Then I prithee do speak 

To me as to thy thinkings. Even as thou 

dost ruminate, 
And give to thy worst of thoughts now the 
worst of words ! 
Iago. You should not know my thoughts were 
e'en 
My heart in your hand, nor shall not. 
Othello. Ah I 

Iago {going close up to him and almost in m 
whisper) . 

Beware my lord, of jealousy! 
It is the g^een-eyed monster, cruelly, aye, il 

doth mock 
The meat it feeds on, and with its poison 
doth 'change our nature. 
Othello. O misery! No! Thinks't thou 
ril make a life of suspicion ? 
I will see before I doubt, when I doubt I 

will prove, 
And on the proof — 'tis thus that Othello 

decrees — 
Away at once with jealousy and love to- 
gether. 
Iago {more frank in manner). 

I am glad, for I can show the love and duty 

I bear you. 
I do not speak of proof yet. Look to your 

wife, Othello, 
Watch her closely, too often are free and 

open natures 
Like yours abused by falsehood and decep- 
tion ; watch her closely, 
Observe her well with Cassio. One un- 
guarded word, one gesture, 
May to your faith restore you, or confirm 
your suspicion. 
Here she is, watch her closely. 

{Desdemona is seen returning to the^ garden 
through the large opening at the back; 
she is surrounded by tvomen^ children^ and 
Cypriot and Albanian sailors^ who come 
forward in turn and offer her flowers and 
other gifts. They singy accompanying 
themselves^ some on the guzla [a kind of 
mandolin'\y and others on small harps .) 

Chorus {in the garden) • 

Wheresoe'er thy glances shed 
Brightness, hearts must meet thee ; 
Wheresoe'er thy footsteps tread 
Flow'rs spring up to greet thee. 
Rose and lily bringing. 
We approach thy shrine. 
Old and young are singing, 
And our songs are thine. 



18 



Fanciulu {sfargendo at suolo fiori di giglio), 

T' offriamo il glglio 
Soave stel 

Che in man degli angeli 
Fu assunto in ciel, 
Che abbelia il fulgido 
Manto e la gonna 
Delia Madonna 
E il santo vel. 

DOKNB B MaRINAI. 

Mentre all' aura vola 

Lieta la canzon, 

L' agile mandola 

Ne accompagna il suon. 

Marinai {offrendo a Desdetnona dei tnonilt di 
cor alio e diferle), 

A te le propore, 
Le perle e gli ostri, 
Nella voragine 
C61ti del mar, 
Vogliam Desdemona 
Coi doni nostri 
Come un' imagine 
Sacra adomar. 

Fanciulli e Donne. 

Mentre all' aura vola 
Lieta la canzon, 
L' agile mandola 
Ne accompagna 11 suon. 

Lb Yyo'tkmiB.ijspargendo fronde e Jiori). 

A te la florida 
Messe dai grembi 
A nembi, a nembi, 
Spargiamo al suol. 
\J April circonda 
La sposa bionda 
D' un' etra rorida 
Che vibra al Sol. 

Fanciulli e Marinai. 

Mentre all' aura vola 

Lieta la canzon, 

L' agile mandola 

Ne accompagna il suon. 



Turn. 



Dove guard! splendono 
Raggi, awampan cuori, 
Dove passi scendono 
Nuvole di fiori. 
Qui fra gigli e rose, 
Come a un casto altar, 
Padri, bimbi, spose 
Vengona a cantar. 



Childr:qn {strewing lilies on the ground). 

We bring thee lilies 

On slender stem, 

In heav*n the hand of angels 

Proffers them. 

Strewn with their petals 

Our lady's gown is, 

Her sacred crown 

Is gemmed with their light* 

Women and Sailors. 

Rising even higher 
Sounds our song afar. 
With our voices blending 
Cither and guitar. 

Sailors {offering Desdemona necklaces of 

corals and pearls. 

To thee we proffer 
The richest pearls and corals, 
Which we have deftly gathered 
Deep in the sea. 
Thee, Desdemona, 
Like the fairest image. 
With all our treasures 
Crowning are we. 

Children and Women. 

Rising ever higher 
Sounds our song afar, 
With our voices blending 
Cither and guitar. 

Women {strewing leaves and Jloweri). 

For thee we gather' d 
Blossoms of spring-time. 
We strew them, 
For they are thine. 
Thy fair, thy silken tresses. 
Sweet April shall fan them» 
And Morn surround them 
With its golden shine. 

Children and Sailors. ^ 

Rising ever higher 
Sounds our song afar, 
With our voices blending 
Cither and guitar. 



All. 



Wheresoe'er thy glances shed 
Brightness, hearts must meet thee, 
Wheresoe'er thy footsteps tread, 
Flow'rs spring up to greet thee. 
Rose and lily bringing, 
We approach thy shrine. 
Old and young are singing 
And our songs are thine. 



19 



^ 



Desdemona. 

Splende il cielo, clanza 
L' aura« olezza il Hore. 
Gioia, amor, speranza 
Cantan nel niio core. 

CoRO. Vivi felice ! Addio. Qui regna Amore. 

{Durante il Coro, Otello osserva con J ago,) 
Otello {soavemente commosso) . 

Quel canto mi conquide. 

No, no, s' ella m' inganna, il ciel se stesso 
irride ! 
Jago. (Belt^, letizia, in dolce inno concordi ! 

I vostri in frangerd soavi accordi.) 



SCENA IV. 

Finito il Coro, Desdemona bacia la testa d* 
alcuni tra i fanciulli^ e alcune donne le 
baciano il Umbo della veste^ ed essaporge 
una borsa ai marinai. — // Coro s' allon- 
tana: Desdemona^ seguita poi da Emilia^ 
entra nella sala e s* avanza verso Otello. 

Desdemona. D' un uom che geme sotto il tuo 
disdegnb 
La preghiera ti porto. 
Otello. Chi e costui ? 
Desdemona. Cassio. 
Otello. Era lui 

Che ti parlava sotto quelle fronde ? 
Desdemona. I ui stesso, e il suo dolor che in 
me s* infonde 
Tanto e verace che di grazia e degno. 
Intercedo per lui, per lui ti prego. 
Tu gli perdona. 
Otello. Non ora. 

Desdemona. Non oppormi il tuo diniego. 
Gli perdona. 
,^-nOtello. Non ora. 
; T iDesdemona. Perche torbida suona 
^^ La voce tua? qual pena t* addolora? 

Otello. M' ardon le tempie . . . 

Desdemona {spiegando il suo fazzoletto come 
per fasciare la fronte d* Otello). 

Quell' ardor molesto 
Svanira, se con questo 
Morbido lino la mia man ti fascia. 

Otello {geiia il fazzoletto a terra). 

Non ho d'uopo di ci5. 
Desdemona. Tu sei crucciato, 
Signor. 



Desdemona. 

Sunlight blowing breezes 
Rose and heliotrope, 
Fill my heart with gladness, 
Wak^n joy and hope. 

Chorus. Live long and happy I Here reignf 

sweet love. 
Othello (softly moved). 

Their song has wrung my bosom. 

No, no, if she deceive me, the heav'n itselPs 
a liar. 
Iago. See love and beauty together are dwellmg 

Until I come their sweet concord dispelling. 



SCENE IV. 

When the singing is over^ Desdemona kisses 
some of the children ^ and some of the 
women kiss the hem of her gown. She 
gives the sailors a purse. Exit chorus 
slowly. Desdemona,, followed by Emi/ia^ 
comes forward in the hall where Othello 
stands. 

Desdemona. 

I have been talking lately to a sailor 
Who has felt your displeasure. 
Othello. Whom dost mean? 
Desdemona. Cassio. 
Othello. Then 'twas he who spoke to thee e'en 

now in yonder arbor? 
Desdemona. None other ; aye, sooth ! he went 
away so humble 
That he has left half his grief with me. ^ 
If I have any grace or pow'r to move you, 
You must forgive him. 
Othello. Not now. 
Desdemona. Nay, I'll take not your denial. 

Ah ! Forgive him. 
Othello. Not now. 

Desdemona. Why dost speak so faintly.^ Art 
thou not well.'* Does any pain afflict 
thee? 
OTiiELLO. Here on my forehead. 

Desdemona (spreading out her handker- 
chief a^ if to tie it round the forehead oj 
Othello). 

'Twill away again. 
Within this hour 'twill be well again. 
If you will let me bind it with this napkin. 

Othello (throws the handkerchief down). 

' Tis too little for me. 
Desdemona. 1 am very sorry, my lord. 



20 



Otbllo (aspramente) . 
Mi lascia ! 

(^Emilia raccoglie ilfazzoletto dal suolo.) 

Desdbmona. Se inconscia, contro te, sposo, 

ho peccato 
Dam mi la dolce e lieta 
Paro o del perdono. 
La tua fanciulla io sono 
(Jmile e mansueta ; 
Ma il labbro tuo sospira, 
Hai r occhio fiso al suol. 
Guardami in volto e mira 
Come favella amore. 
Vren ch' io t* allieti il core, 
Ch' io ti lenisca il duol. 



Otello {a partey. 

(Forse perchfe gli inganni 
ty arg'tto amor non tendo, 
Forse perch^ discendo 
Nella valle degli anni, 
Forse perche ho sul viso 
Questi attro tenebror, 
Ella e perduta e irriso' 
Io sono e il cor m' infrango 
£ ruinar nel fango 
Vedo il mio sogno d' 6r.) 



J AGO (a Emilia sotto VOC4) . 
(Quel vel mi porgi, 
Clr or hai raccolto. 

Bkxlia {sotto voceayafo) . 
Qual frode scorgi? 
Ti leggo in volto. 
T* opponi a voto 
Quand* i comando. 
11 tuo nefando 
Livor m' & noto* 
Sospetto insano! 
Guardla fedel 
E qucsta mano. 
Dam mi quel vel I 



J. 
B. 



J. 



iy<'£** offerra viotenimenU 



braccio di EmUia,} 

T. Su te 1' irosa 
Mia man s' aggrava! 
Son la tua sposa. 
Non la tua schiava. 
La scliiava impura 
Tu sei di Jago. 
Ho il ccr presago 
D una sventura. 
Ne mi pavcnti? 
Uomo crudel I 
A me. 

Chetenti? 
A me quel vel i) 

uM colpo di mamn 



J. 
B. 

J. 
B. 

k 
J. 

{Con 
J ago kacarpiioU/i 
Mio ad Emilia.) 

J. (Gia la mia brama 
Conquido, edora 
Sa qiieata traroa 
Jago lavora! 

B. (Vinser gli artigli 
Trud e codardi. 
Dio dai perigli 
Scmpre ci guard!.) 



axzo- 



Otbllo. Escite ! Solo vo* restar. 

Jago (^sotto voce ad Emilia che sta per 

escire) • 

(Ti giova. 

Tacere. Intendi } ) 

(Desdemona ed Emilia escono, Jago fingi 
d" escire dalla porta del fondo^ magiuntovi 
s* arresla.) 



SCENA V. 

Otello ; Jago nel fondo, 
Otello (accasciato, su d' tin sedile*) 

Desdemona rea ! 
Jago {nel fondo guardando di nascosto il 
fazzoletto, poi riponendolo con cura nel 
giustacuore) . 



Dear husband, let me pray it, 
The word of pardon say it. 
I am thy child, thy servant. 
Of thy least hint observant ; 
Thy silence speaks of sadness, 
Thy face is turned from me. 
See in my eyes the token 
Of vows of love unbroken. 
Oh, let me cheer thy sadness. 
Oh, let me comfort thee ! 



Othello {roughly). 

Ah, leave me ! Ah, leave me f 

{Emilia picks up the handkerchief,) 

Desdemona. If ever 'gainst my will I have 
offended, ^^«?J^'''' '? -£«•»««). 

' That napkin give me; 

I have been watch^ 
ing. 
Emilia {asidtto logo). 
Some plan yoa're 

hatching, 
You'll not deoeire 
me. 
I. To roe defiance 
How dare you show 
it? 
E. Your wicked schem. 
ing 
Too well I know it. 
I. Sure you are dream- 

E. In my own trust 
I place reliance. 

I. Give it you must! 

( Violently j^rasfing ikt 
arm of Emilia,) 
My hand in strife 
You cannot brave. 

E. I am your wife. 
And not your slave. 

I. My bondsmaid are 

Believe my messaf^e. 
E. My heart has presage 

ox boding evu. 
I . Now do I scare you. 
E. Ah, cruel man. 
I. For\ne — 
E. No, never. 
I. That handkerchief. 
XWilh a sudden wrench 
la^o tears the handker- 
chief from Emilia.) 
Spent is my anger* 
Firmly I hold Uiem 
Here in my meshea^ 
lago's master. 
E. Lurking disaster 
Spreads out itsi mesh. 

es, 
God in their danger 
Strengthen, uphold 
\ them. 



Othello 

{Aside) . 

Happily because I lack 
Soft parts of conversation. 
Or that I am declined 
Into the valley of years, 
Happily because my visage 
Is dyed of deepest black. 
Her life is ruined, a by-word 
Am I, my heart is broken, 
And in the dust is scattered 
My golden dream of love. 



Othello. All leave me ! I would be alone. 
I AGO (aside to Emilia who is about to go). 
Of this not a word, I charge you. 



{Exeunt Desdemona and Emilia. lago goes 
toward the door at back^ but remaim 
standing there.) 



SCENE V. 

Othello ; I ago at the hack. 

Othello {Exhausted., throws himself in a 
chair). 

The false Desdemona ! 

Iago {at back., looking at the handkerchief .^ 
ana then carefully replacing it in his 
doublet) • 



OUv^rii^-' 




21 



<^ 



^ 



! (Con quest! fili tramerb la prova 

^ Del peccato d' amor. Nella dimora 

Di Cassio cio s* asconda.) 
Otello. Atroce idea ! 

Jago (^fra skyfissando Otello*^ 

(II mio velen lavora.) 
Otello. Rea contro me I — contro me 1 
Jagg. (Soffri e ruggi !) 
Otello. Atroce 1 — atroce ! 

Jagg {dofo essersi porlato accato ad Otello 
— bonriamente) . 

Non pensatedi piu. 
Otbllo {balzando). 

Tu ? Indietro ! fuggi ! 
M' hai legato alia croce ! . • • 
Abime! . . . Piu orrendo d* ogni oi- 
renda ing^uria 
jl>]^Deir ingiuria h il so petto. 
A^v^Neir ore arcane della sua lussuria 
^ I E a me furate ! m* aeitava il petto 




cy^ 



agitava li petto 
Forse un presagio? £ro baldo, giulivo • 
Nulla sapevo ancor ; io non sentivo 
Sul suo corpo divin che m' innamora 
£ sui labbri mendaci 
Gli ardent! baci 

^Di Cassio ! — Ed ora I . . . ed ora. 

^T5ra e per sempre addio sante memorie, 
Addio sublimi incanti del pensier ! 
Addio schiere fulgent!, addio vittorie, 
Dardi volant! e volant! corsier ! 

^ Addio vessillo trio fale e pio 
E diane squillen i in sul mattin ! 
Clamor! e cant! d! battaglia, addio I • • 
Delia gloria d' Otello h questo !1 fin. 



• • 




Jagg. Pace, signor. 

Utello. Sciagurato I mi trova 

Una prova secura 

Che I^esdemona h impura • • . 

Non sfuggir ! non sfuggir ! nulla ti giova ! 

Vo' una secura, una visibil prova ! 

(Afferando yago alia gola e alter randolc) 

suUa tua testa 

S' accenda e precipiti il fulmine 



Yea, trifles light as air are to the jealoug 

Proof of holy writ. Now will I lose 

In Cassio's house this napkin. 
Othello. Oh, monstrous, monstrous! 
I ago {to himself^ watching Othello). 

He changes with my poison. 

Othello. Ha ! false to me ! ha ! to me ! 

Iago. Writhe and foam thou ! 

Othellg. Oh, monstrous ! oh, monstrous 1 

Iago {going up to Othello cordially.) 
Gen'ral, no more of that! 

Othello {staggering). 

Thou ? Avaunt thee ! leave me 

On the rack thou hast set me ! 

Ah, me ! I sw^ear *tis better to be mucb 

abused 
Than know it a little. 
What sense had I of her stol'n hours of 

lust 
(Though stolen from me? Them I saw 

not, thought not, 
They never harmed me. Free and merry 

was I, 
Not knowing aught of this. I did not wince 
When her sweet body I clasped in tender 

passion. 
Nor did find on her lips 
The burning kisses 
Of Cassio ! And now an d now — 
And now forever farewell, thou tranquil 

mind. 
Farewell content and noble thoughts of 

fame ! 
Farewell thou plumed troop, thou glorious 

battle. 
Thou swiftly flying shaft, and the neighing 

steed « 
Farewell the royal banner and farewell all 

quality. 
Pride, pomp, and circumstance of war ! 
The spirit stirring drum, the fii^^ — fare- 
well, 
Now and forever ! Othello's occupation's 

gone. 
[ago. Peace, peace, my lord. 
Othello. Ha ! Thou villain ! Now make me 
To see it or prove it 
That my love is a strumpet — 
No escape, no escape shall now avail thee I 
Sure be of it, give me the ocular proof! 

{He grasps Jago by the throat and throws 

him down,) 

Or now in thy forehead 

Shall instantly all my waked wrath 



g 
^ 



1 



22 



Del mio spaventoso furor che si desta ! 

Jago {rialzandosi) . 

Divina grazia difendimi ! — II cielo 
Vi protegga. Nou son piii vosiro alfiere. 
Voglio che il mondo testimoa mi sia 
Che r onesta e periglio 

{^Fa par andarsene.) 

Otello. No . . • rimani. 

Forse onesto tu sei. 

Jago {sulla soglia jingendo d* andarsene) , 

Meglio varrebbe 
Ch* io fossi un ciurmadon 
Otello. Per I'uni verso ! 

Credo leale Desdemona e credo 
Che non lo sia ; te credo onesto e credo 
Disleale ... La prova io voglio ! voglio 
La certezza! 

Jago {ritomando verso Otello), 

Signor, frenate I'ansie. 
E qual certezza v* abbisogna ? — Awinti 
Verderli forse? 

Otello. Ah ! Morte e dannazione ! 

Jago. Ardua impressa sarebbe ; e qual certezza 
Sognate voi se quell* immondo tatto 
Sempre vi sfuggira ? . . . — Ma pur se 

guida 
£ la ragione al vero, una si forte 
Congettura riserbo che per poco 
Alia certezza vi conduce. Udite : 



(Avvicinandosi mollo ad Otello e sotto voce,) 

Era la notte, Cassio dormia, gli stavo ac- 

canto. 
Con iiiterrotte voci tradia Tintimo incanto. 
Le labbra lente, lente, movea, nell' abban- 

dono 
Del sogno ardente ; e allor dicea, con fiebil 

suono : 
Desdemona soave ! H nostro amor 5' as- 

conda 
Caut I vcgliamo ! Pestasi del del tutto m^ 

innonda, 
Seguia piu vago I'incubo blando ; con molle 

angoscia, 
L'interna imago quasi baciando, ei disse 

poscia : 
// rio destino impreco che al Moro ti dono» 
E allora il sogno in cleco letargo si mut6. 




Accumulate and with swiftness of lightning 
destroy thee I 

Iago {rising). 

The grace of Heaven forgive me ! Be God*s 
Own mercy with you ! You may take now 

my office. 
Witness, O word, that it is safe no longer 
To be direct and honest. 

{He makes pretence oj^ leaving.) 

Othello. Nay, abide yet ; 
Haply honest thou art. 

Iago {on the threshold still pretending to with" 
draw) . 

I should be wise, for honesty's a fool. 
Othello. The would-be witness ! 

I think my wife may be honest and think 
May be she's not ; I think thou art just and 

think 
That thou art not. Til have some proof; 
Would that I were satisfied ! 

[ago {returning to Othello). 

I do not like the office. 
What shall I say, where's satisfaction ? 
You would not observe them in secret? 
Othello. Ha ! Death and damnation ! 
[ago. It were difficult, truly. No satisfaction 
There is for you. Will not the hideous 

deed 
For ever thine eyes escape? But yet, I say 
If imputation strong and many circum* 

stances, 
Grossly suspicious will but give 
You satisfaction, you may have it. Now 

listen. 

{He goes closely up to Othello; in a whisper:) 

I lay with Cassio lately, and sleepless I 

watched his slumbers. 
All of a sudden he 'gan to mutter what he 

was dreaming. 
Moving his lips, then gently and slowly 

words of deep import 
I heard him mutter, saying in tearful, pas- 
sionate accents : 
'* My sweetest Desdemona, let us be wary 

ever, 
Cautiously hiding what to thee and me 

is heavenly rapture." 
Then, in his dreaming, moved he towards 

me, sighing and kissing. 
Gently caressing his fancy's image, he thu^ 

did murmur, 
" Oh ! threefold cursed fortune that gave 

thee to the Moor ! " 
And after that the dream forsook him, and 

calmly he then slept. 



23 



Otbllo. Oh ! mostruosa colpa ! 
Jago. Io non narrai 

Che un sogno. 
Otello. Un sogno che rivela un fatto. 
Jago, Un sogno che pub dar forma di prova 

Ad altro indizio. 

Otello. E qual ? 

Jago. Talor vedeste 

In mano di Desdemona un tessuto 
Trapunto a fiori e piii sottil d'un velo? 

Otello. E il fazzoletto ch* io le diedi, pegno 
Prime d'amor. 

Jago. Quel fazzoletto ieri 

(Certo ne son) Io vidi in man di Cassio. 
Otello. Ah ! mille vite gli donasse Iddio 

Una e povera preda al furor mio ! 

Jago, ho il cuore di gelo. 

Lungi da me le pietose larve ! 

Tutto il mio vano amor esalo al cielo, 

Cuardami, — ei sparve. 

Nelle sue spire d'angue 

L'idra m'avvince ! Ah ! sangue ! sangue ! 
sangue ! 

( S'inginocch ia» ) 

Si pel ciel marmoreo giurb ! Per le attorte 

folgori ! 
Per laMorte e perl'oscuro mar sterminator ? 
D'ira e d'impeto tremendo presto fia che 

sfolgori 
Questa man ch' io levo e stendo ! 

(^Levahdo la mano al cielo, ^ 

Jago. 

(^Otello fa peralzarsiy Jago Io trattiene ingin- 
occhialo e s'inginocchia anch'esso.) 

Non v' alzate ancor ! 

Testimon e il Sol ch' io miro, che m'irradia 

e inanima, 
L'ampia terra e il vasto spiro del Creato 

inter, 
Che ad Otello io sacro ardenti, core brac- 

cio ed anima 
S'anco ad opere cruenti s'armi il suo voler ! 

^Insieme alzando le tnani al cielo come chi 

\ giura,) 

Ja^o e Otello. 
/ Si pel ciel marmoreo giuro ! per le attorte 
folgori ! 
Per la Morte e per Toscuro mar stermina- 
tor! 
D'ira e d'impeto tremendo presto fia che sfolgori 
Questa man ch' io levo e stendo. Dio vendl- 
cator 1 



I Othello. 

Oh I monstrous deed I oh, monstrous I 
Iago. Nay, this was but his dreaming. 
Othello. Denoting a foregone conclusion. 
Iago. 'T may thicken other proofs that do 
demonstrate 

Now too thinly. 
Othello. And how? 
Iago. Have you seen never 

In Desdemona's hand a napkin spotted 

With strawberries, and of most subtle texture? 
Othello. 

Such is the handkerchief I gave her, 'twas 

My first gift to her. 
Iago. That self-same napkin lately, 

I take my oath, was in the hands of Cassio. 
Othello. 

Ah ! that the slave had fortv thousand lives ! 
• One is all too weak for my revenge ! 

Listen to me, Iago. 

My fondest love thus do I blow to heaven. 

Rise now black vengeance from thy hollow 
cavern ! 

Look on me ! 'Tis gone I 

Yield up, oh love, thy crown 

To tyrannous hate I Oh, blood ! blood ! blood ! 

{^He kneels,^ 

Witness yonder marble, and th' eternal 

lights above, 
And the elements that clip us round about ! 
Never shall cease my hatred, never end my 

wrath until 
This hand hath wrought my vengeance. 

i^He lifts up his hand.) 

Iago ( Othello is about to rise ; Iago holds him 
down,) 
Nay, arise not yet ! 

Witness sun which us illumines, earth on 
which we live, 
Yon ambient air in which we breathe the 
all Creator's breath. 
Witness that Iago doth give up his wit, his 

hands, his heart. 
To wronged Othello's service. Let him but 
command ! 



Iago and Othello {both raising their hands 

as for a solemn oath) . 
Witness yonder marble, and th' eternal 

lights above, 
And the elements that clip us round about ! 
Never shall cease my hatred, never end my 

wrath, until 
This hand hath wrought my vengeance. 



14 



ATTO SECONDO. 

Una Sala Terrena nel Castbllo. 

Due vasti veroni ai tali : una porta nel mezzo 

che di sul g-iareUno, 



SCENA PRIMA. 

yaffo al di qua del verone. Cassio aldi la. 

[ago. Non ti crucciar. Se credi a me, tra 
poco, 
Farai ritorno ai folfeggtantt amort 
Di Monna Bianca, altiero capitano, 
Coir elsa d' ora e col balteo fregiato. 

Cassio. Non lusingarmi . . . 

Jagg. Attendi a ci6 ch' io dico. 

Tu dei saper che Desdemona e il Duce 
Del nostro Duce, sol per essa ei vive. 
Pregala tu, quell' anima cortese 
Per te interceda e il tuo perdono e certo. 



Cassio. Ma come favellarle? 

■ 

Jago. £ suo costume 

Girsene a merlggiar fra quelle fronde 
Col la consorte mia. Quivi V aspetta. 
Or t' e aperta la via di salva zione ; 
Vanne. 

(^Cassias' allotauna,) 



SCENA IT. 



Jagg {solo) {jseguendo colV occhio Cassto) . 
Vanne ; la tua meta gia vedo. 
Ti spinge il tuo dimone, 
E il tuo dimon son io, 
E me trascina il mio, nel quale io credo 
Inesorato Iddio : 

{^Allontanandosi dal verone senza piu guardat 
Cassio che sara scomparso tra gli alberi, ) 

— Credo in un Dio crudel che m* ha creato 
Simile a se, e che nell* ira io nomo. 

— Dalla vilta d' un germe o d' atbmo 



ACT SECOND. 



A HALL ON THE GROUND FLOOR OP THE CaSTLB. 

A glass partition divides it from a large gar* 
den at back, A terrace* 



SCENE I. 



Iago. Nay, do not fret. Trust but in me, I 
promise 
Thou'lt bask once more in the bright beam- 
ing glances 
Of Mistress Bianca, as dapper a lieutenant 
As ever thou wert, with gilded hilt and 
baldrich. 
Cassio. Do not deceive me. 
Iago. Nay, hear but what I counsel. 

Our gen'ral's wife, as thou must know, is 

now 
Our gen'ral's gen'ral, he her humble ser- 
vant ; 
Importune her, hers is so kind, so blessed, 
A disposition, that she will work your par- 
don. 
Cassio. But how to gain her presence ? 
Iago. It is her wont 

To rest at noon of day in yonder arbor ; 
Talking with my wife. Here, then, await 

her, . , 

The road I've shown thee that leads to thy 

salvation. 
Go then. ( Cassio goes towards the hack.) 



SCENE II. 

Iago {alone), {Following Cassio with his eye.) 
Go then ; well thy fate I descry, 
Thy demon drives thee onward. 
That demon, Io ! am I ; 
E'en as mine own impels me, on whose 
Command I wait, relentless Fate. 

{He comes forward without taking further 
notice of Cassio^ who disappears,) 

Cruel is he, the God who in his image 
Has fashioned me and whom in wrath I 

worship. 
From some vile germ of nature, some pal- 
try atom. 



15 




Vile son nato. 
Son scellerato 
Perch^ son uomo ; 
F grnto il faiigu UTiginano m me. 
Si ! questa e la mia fe ! 
Credo con fermo cuor, siccome crede 
La vedovella al tempio, 
Che il mal ch' io penso e che da me pro- 
cede 
Per mio destino adempio. 
Credo che il giusto e un istrion befTardo 
E nel viso e nel cuor, 
Che tutto e in lui bugiardo : 
Lagrima, bacio, sguardo, 
Sacrificio ed onor. 
£ credo Tuom gioco d' iniqua sorte 
Dal germe della cuUa 
Al vermo dell* avel. 
Vien dopo tanta irrision la Morte. 
E poi ? — La Morte e il Nulla 
£ vecchia fola il Ciel. 



I took mine Issue* 

Vile is my tissue. 

For 1 am human. 

I feel the primal mudflow of my breed. 

Yea I This is all ray creed, 

Firmly I do believe as e'er did woman 

Who prays before the altar, 

Of ev*ry ill whether I think or do it, 

'Tis Fate that drives me to it. 

Thou, honest man, art but a wretched 

player. 
And thy life but a past ; 
A lie each word thou sayest. 
Tear-drops, kisses, prayers, 
Are as false as thou art. 
Man's fortune's fool, e'en from his 

breath. 
The germ of life is fashioned 
To feed the worm of death, v 
Yea, after all this folly all must die, 
And then? And then there's nothing, 
And heaVn an ancient lie. 



(^Dal verone di sinistra si vede passare nel 
giardino Desdemona con Emilia, Jago si 
slancia al verone^ al di la del quale si sard 
apposta o Cassia.) 

Jago {parlando a Cassio), 

Eccola . . . Cassio • . a te • . 

. Questo e il momento. 
rTi scuoti . . . vien Desdemona. 

(^Cassia va verso Desdemona^ la saluta^ le s' 

accosta,) 

S' e mosso ; la saluta 

E s' avvicina 

Or qui si tragga Otello! • • • aiuta, 

aiuta 
Satana il mio cimento ! . • . 

{^Sempre al verone^ osservando^ ma un poco 
discosto^ 

{Si vedono ripassare nel giardino Cassio e Des- 
demona.) ^ 

Gia conversano 4nsieme • • 1' ed essa 

inclina, / 

Sorridendo il bel viso, ^ ' 

Mi hasta un lampo sol di quel sorriso 
Per trascinare Otello alia ruina ^ 
Andiam ... i 

^JPa per avviarsi rapido alF ^iiscio del lato 
destro ma s*arres a subitamente.) \ 



{^Desdemona and Emilia are seen to enter the 
garden. lago goes toward the terrace^ 
beyond which Cassio has taken his post* 
tion,) 

Iago {to Cassio). 

Now, take care. Cassio ! To lier ! This is 

the moment. 
Now haste thee, Desdemona comes. 

( Cassio goes to Desdemona^ bows to her and 

joins her.) 

He's near here ; and he greets her 

And does accost her. 

Now must I fetch Othello ! Divinities of 

hell, 
I call upon your succor. 

( Cassio and Desdemona are seen passing back'' 
ward and forward in the garden.) 



They are talking in whispers, and now to 
him 

Has she inclined her gentle visage. 

Ay, smile upon her, do ! An excellent cour- 
tesy. 

This smile shall lure Othello to his ruin. * 

To work I 

(He goes rapidlv toward the door^ but suddenly 
stops* 



A 



/ 



26 









• • 



» f • 
• • ft 



Otbllo. Pel cielo I ranima mia si clesta ! 

II fazzoletto. . . 
Desdemona. £ Cassio 1' amico tuo diletto. 
Otello. II fazzoletto ! 
Desdemona. A Cassio perdona. • • 
Otello. II fazzoletto ! 
Desdemona. 

Gran Dio ! nella tua voce v* 6.}m.*g;Alo di 
minaccia ! * *• ' 

Otello. Alza quegli occhi !.-. 

{Prendendola a for z a sotf&Jl ntefito e alia spalla 

e obligandola^fi £uardarlo,) 

• • **• * 
Desdemona. At^>ti€r«iaea ! 

Otello. GuariUnrti In faccia ! 

Dim mi cfii seil 
Desdemcwj^.' • La sposa fedel d'Otello. 
Otello. Giura ! 

Giura e ti danna. . • 
Desdemona. Otello fedel mi crede. 

Otello. Impura 

Ti credo. 
Desdemona. Iddio m' ainti I 
Otello. Corri alia tua condanna, 

Di' che sei casta. 
^-Desdemona (fissandolo) . Casta . . • lo son . . . 



rd, 



'Ello. Giura e ti danna ! 
Desdemona. 

Esterrefatta fisso lo sguardo tuo tremendo, 
In te parla una Furia, lasento e non Tin 

tendo. 
Mi guarda ! il volto e 1* anima ti svelo ; il 

core infranto 
Mi scruta . . . io prego il cielo per te con 
questo pianto. * 

Per te con queste sti le cocenti aspergo il 

suol. 
Guarda le prime lagrime che da me spreme 
il duol. 
Otello. 

S* or ti scorge il tuo demone un angelo ti 

crede 
E non t* afferra. 
Desdemona. Vede TEterno la mia fede I 

Otello. No ! la vede Tinferno. 
Desdemona. La tua giustizia impetro, 

Sposo mio ! 
Otello. Ah ! Desdemona ! — Indietro ! indietro ! 

indietro I 
Desdemona. Tu pur piangi ! . . . e gemendo 
freni del corlo schianto 
E son io 1' innocent ecagion di tanto plan 

to ! . . . 
Qual c il mio fallo } 



Othello. By heav'n, I say, my mind misgives 

me. That handkerchief — 
Desdemona. To Cassio*s suit you must listen. 
0THELLO. That handkerchief! 
Desdemona. To Cassio's suit you shall listen ! 
Othello. That handkerchief! 
Desdemona. Great heav'n,you seem to threaten ; 

there is fury in your words. 

Othello. Lift up thine eyes ! 

(^Putting one hand under her chin^ the other on 
her shoulder and forcing her to look at him.) 

Desdemona. Most horrid thought I 
Othello. Look in my face ! 

Tell me what art thou } 
Desdemona. Your loyal wife, Othello. 
Othello. Swear it I 

Damn thyself swearing. 
Desdemona. Yea, Heav'n does most truly 

know it. 
Othello. A strumpet 

I think thee. 
Desdemona. O Heaven forgive us I 
Othello. Once more thy falsehood utter ! 

Say, thou art honest. 
Desdemona {looking firmly at him) . 

Honest, I am I 
Othello. Swear it, damn thyself. 
Desdemona. 

Upon my knees before thee, beneath thy 

glance I tremble. 
I understand a fury in your words, but not 

the words. 
Behold me ! to thee my face and soul lie 

open, oh look into 
My broken heart. I pray, my sighs rise to 

heaven with a prayer. 
For thee these bitter tear-drops bedew the 

earth. 
Tears, the first I ever shed. 
Othello. Friends themselves would not seize 
thee, being like to one of heaven, 
In mien and semblance. 

Desdemona. God sees my heart and knows me 

honest. 
Othello. No ! He knows thou'rt perjured. 
Desdemona. Be just unto thy loyal wife, 

Othello. 
Othello. Oh, Desdemona! away! away! 

away ! 
Desdemona. Dost thou weep ? Ah ! the heavy 

day, alack the day ! 
Whose the fault ? Am I the motive of these 

tears ? 
Have I offended? 



27 



^ 



Otbllo. £ il chiedi? ... II piu nero delitto 
Sovra il candido giglio della tua fronte e 
scritto. 

Desdemona. Ahime I 
Otello. 

Che ? non sei forse uua vil cortigiana ? 
Desdemona. Ciel I No — no — pel battesmo 

della fede cnstiana I — 
Otello. Che? — 
Desdemona. Non son cio che esprime quella 

parol a orrenda. 

(^Otello prende Desdemona per mano e la con- 
duce alia porta d'onde entro,) 

Otello. Datemi ancor Teburnea mano, vo' 
fare ammenda. 
Vi credea (perdonate se il mio pensiero e 

fello) 
Quella vil cortigiana che e la sposa d'Otello. 



{Alle ultime parole, Otello che sar sulA limi- 
are della porta di sinistra, sforza con una 
inflessione del braccio, Desdemona adescire, 
— Poi ritorna verso il centro della scena 
net Massimo grado dell* abattimento.) 



SCENA III. 

Otello. 

Dio ! mi potevi scagliar tutti i mali 

Delia miseria, — della vergogna, 
Far de* miei baldi trofei trionfali 

Una maceria, — una menzogna — 
E avrei porta to la croce crudel 

D'angoscie e d'onte 

Con calm a fronte 

E rasseg^ato al volere del ciel. 
Ma, o piatito, o duol ! m' han rapito il mi- 
raggio 

Dov* io, giulivo, — I'anima acqueto. 

Spento e quel sol, quel sorriso, quel 
raggio 

Che mi fa vivo — che mi fa lieto ! 
Tu alfin, Clemenza, pio genio immortal 

Dal roseo riso, 

Copri il tuo viso 

Santo coir orrida larva infernal ! 



Othello. You ask me? See the foul word is 

written 
On the whitest of pages of this most goodly 

book. 
Desdemona. Alas ! 
Ofhello. What? Are not you then. an impu* 

dent strumpet? 
Desdemona. No ! no ! no I Your vile charges 

are false, as I am a Christian. 
Othello. What? 
Desdemona. No ! I am not a strumpet. The 

horrid word I g^asp not. 

( Changing suddenly from wrath to calm irony ^ 
takes Desdemona by the hand and leads 
her to the door,) 

Othello. 

Once more give me your hand as white as 

snow. I crave your mercy. 
I mistook you (Pray you, forgive, if in 

thought or word I wronged you) 
For that strumpet of Venice that has married 

Othello. 

(^OthellOy with a motion of his arm^ but with-' 
out changing his position, pushes Desde- 
mona out of the room. Then he returns 
to the centre of the stage in deep dejection,) 



SCENE IIL 

Othello. 

Heav'n, had it pleased thee to try me with 

affliction. 
Had it rained sorrow on my base forehead 9 
And to the very lips in poverty steeped me, 
Giv'n to captivity me and my hopes, 
I could have borne it, though bitter it were, 
And shameful, calm patience 
^ I should have found still 

In some one place of my innermost soul. 
!ut, but there, alas ! where I garnered my 

heart, 
Where either I must live or bear no life, 
The crystal fountain 
From which my current ever runs or else 

dries up; 
To be discarded then ! Patience, thou young 
And rose-lipped cherubim 1 
Turn thy complexion ther^. 
Ay, there look as g^im as hell I 



28 



SCENA IV. 

Otello, poi Jago. 

Otello. Ah ! Dannazione ! 

Pria confess! il delitto e poscia muoia I 
Confession ! Confession ! — 

{Entra Jago,) 

La prova ! — 

Jago. 

{Accanto ad Otello e indie undo r Ingres so.) 

Cassio e la ! 
Otkllo. La? I Cielo! gioia ! 

(^Poi con siibito raccapriccio.) 

Orror ! — Supplizi immondi ! 
Jago. Tifrenal Ti ascondi. 

{^Conduce rapidatnente Otello del fondo a sin- 
istra dove d* ^ il vano del verone corre il 
fondo del peristilio dove incontra Cassio 
che esita ad entrare,) 



SCENA V. 

Otello nascosto. Jago e Cassio. 

/ago. Vieni ; Taula e-dserta. 

T* inoltra, Capitano. 
Cassio. Questo nome d'onor suona ancor vano 

Per me. 

Jago. Fa cor, la tua causa h in tal mano 

Che la vittoria h certa. 
Cassio. Io qui credea di ritrovar Desdemona. 

Otello {nascosto), (Ei lanomb.) 

Cassio. Vorrei parlarle ancora, 

Per saper se la mia grazia e pioflerta. 

Jago (gaiamentc). L'attendi ; e intanto, giacch^ 
non si stanca 
Mai la tua lingua nelle fole gale, 
Narrami un po' di lei che t' innamora. 



( Conducendo Cassio accanto alia prima colonna 
del peristilio,) 

Cassio. Di chi? 

Jago {sotto voce assai) . Di Bianca. 

Otello. (Sorride !) 
Cassio. Baie I . . • 
Jago. Essa f a wince 

Coi vaghi rai. 
Cassio. Rider mi fai. 



SCENE IV. 

Othello {then I ago) . 
Death and damnation ! 
To me thou shalt confess thee, and die there* 

after ! 
Handkerchief I Handkerchief ! 

{Enter lago.) 

Confess it I . . . 
Iago {pointing to the entrance). Cassio's 
there. 

Othello. There? Heaven! 

{Relapsing into hisjirst meod.) 

Oh ! monstrous ! Their stolen pleasures ! 
Iago. There hide thee ! List in patience. 

{He leads Othello quickly to the terrace right 
back and runs to the portico^ where lie 
meets Cassio y who enters.) 



SCENE V. 

Othello {hidden)^ Iago, and Cassio. 

Iago. Come then, the hall's deserted, 
How goes it, my good lieutenant.^ 
Cassio. All the worst that you call me by the 
name 

I have lost. 
Iago. Take heart, in such hands is your case. 

That surely you must win it. 
Cassio. Here did I hope to meet with Desde- 
mona. 
Othello {hidden). He's named her name. 
Cassio. Once more I fain would ask her, 

That she bring my anxious suit to an issue. 
Iago {gaily). 

Await her, and meanwhile I know that thy 

tongue 
Is burning to tell me all thy am'roiis follies. 
Say then, and speak of her whom thou 
adorest. 

{Leading Cassio to the Jirst column of tis 
portico.) 

Cassio. Of whom } 

Iago {very slowly). Of Bianca. 

Othello. He's laughing. 

Cassio. Nonsense ! 

Iago. Say, wilt thou wed her? 

Say, art thou conquered? 
Cassio. I can't help laughing. 



29 



Jago. Ride chi vince. 
Cassio. 

{Ridendo.) 

In tai disiide per verita, 
Vince chi ride — Ah ! Ah I 
Jago. 

{Come sopra.) 
Ah ! Ah ! 
i Otello. 

(L'empio trionfa, il suo scherno m' uccide ; 
Dio frena Tansia che in core mi sta !) 

Cassio. Son gia di baci 

Sazio e di lai 
Jago. Rider mi fai. 
Cassio. O amor' fugaci ! 
Jago. Vagheggi il re no — d'altra belta 

Colgo nel segno? — 
Cassio. Ah ! Ah ! 
Jago. Ah ! Ah ! 
Otkllo. 

(L* empio m' irride — il suo scherno m' 
uccide ; 

Dio frena Tansia che in core mi sta !) 
Cassio. Nel segno hai cdlto. 

Si, lo confesso. 

M' odi. . . . 
. Jago. 

(Assai sotto voce.) 

Somme-so 

Parla. T' ascolto. 
Cassio. 

{Assai sotto voce, tnentre Jago lo conduce 
posto piu lontano da Otello,) 
{or si, or no si senton le parole.) 

£3^0,1*6 nota 
mia dimora. . . . 



{E parole si perdono!) 
Otello. 

{Avvicinandosi un poco e cautamente pe^ tidir 
cio cite dicono.) 

(Or gli racconta il modo, 
II iuogo e Torat. . . . 
Cassio. 

{Continuando il racconto sempre sotto voce) 

• • . • • • 
Da mano ignota. . . . 

• •••.• 
{Le paro e si perdono ancora . ) 

Otello. 

(Le parole non odo. . . . 

Lasso ? e udir le vorrei * Dove son giunto ! | 



Iago. He wins who laughs last. 
Cassio {laughing). It is the monkey's own 
giving out. 

He wins who laughs last. Ha ! Ha ! 
Iago {as above) . Ah ! ah ! 



Othello. Villain ! He triumphs ! Laughing, 
he smites my bosom. 

God give me patience now to bear all this 
grief. 
Cassio. I loath her kisses, 

Scarce I can bear them. 
Iago. I can't help laughing. 
Cassio. Yea, love is fleeting. 
Iago. Some other beauty has thee in thrall. 

Say, have I thought thee.? 
Cassio. Ha ! ha ! 

Othello. Villain ! He triumphs ! Laughing, 
he smites my bosom. 
God give me patience now to bear all this 
grief. 
Cassio. Yea, thou hast caught me ! 
I must confess it. 
Hear me ! 
Iago {yery slowly) . Thou must speak gently, 
hear thee. 



Cassio {very slowly. Meanwhile Iago leads 
him to a place more remote from Othello.) 

{His words are not caught •) 

Iago, Iago, 

Where is my lodging, 



( The words are not caught.) 

Othello. incautiously approaching to hear 
what they are saying) . 

He now does tell him 

The manner, the place, the hour . . . 

Cassio. {continuing his tale ^ still very softly)* 



Some unknown hand 

• ... a 

( The words are again unheard.) 

• • . . . 

Othello. Once more I cannot hear him . . . 
Woe's me ! fain I would know ! Has't come 
to this ! 



80 



Cassio. 

• ••••• 
Un vel trapunto . . . • 

• ••••• 

{Come sopra.) 

Jago. E strano ! e strano ! 
Otello. 

(D* avvicinarmi Jago mi fa cenno.) 

{Passo pas o con lenta cautela, Otello nascon^ 
dendo si dietro le colonney arriver i piii 
tardi vicino ai due,) 

Jago. 

(SoUo voce) 
Da ignota mano? 

{Forle) 
Baie! 
Cassio. Da senno. 

i^Jago gli fa cenno di parlar ancora sotto 
voce, ) 

Quanto ml tarda 
Saper chi sia. . . . 
Jago. 

{Guardando rapidamente dalla parte d* 
Otello — fra s^) 

(Otello spia) 

(a Cassio ad alta voce,) 
L' hai teco? 
Cassio. {^strae dal giustacuore il foazzoletto 
di Desdetnona.) 
Guarda. 

Jago. (Predendo il fazzoletto,) 
Qual meraviglia ! 

{A patte,) 

(Otello o! iglia. 

Ei s* avvicina 

Con mosse accorte.) 

(A Cassio inchinandosi scherzosamente e pas- 
sando le tnani dietro la schiena perche 
Otello possa osservare ilfazzoletto,) 

Bel cavalicre-nel vostro ostel. 
Perdono gli angeli - Taureola e il vel. 

Otello. (^Avvicinandosi assai al fazzoletto^ 
dietro le spalle di yago e nascosto dalla 
prima colonna.) 

(E quello ! e qiiello ! 
Ruina e Morte !) 

Jago. (Origlia Otello.) 



Cassio. 

. • • • 
A 'broidered napkin. 



Iago. Most curious ! most curious ! 
Othello. Slyly he beckons nearer to approach 
him. 

{^Moving step by step and hiding behind the 
columns.) 



Iago {slowly) . Some unknown hand. 
Nonsense ! (^Loud.) 



Cassio. Nay, truly. 

{Signalling to Cassio to speak more softly,) 

I cannot fathom 

Who there has placed it . . . 

Iago. {Looking to where Othello stands^ — 
to himself) . 

Othello sees us. 

{^To Cassio J aloud) 
Where is it ? 



Cassio 

{drawing Desdemona's handkerchief from his 
doublet). 

Here 'tis. 
Iago {taking the handkerchief) . 

Wonder of wonders ! {Aside,) 
Othello listens, 
Still drawing nigher 
With stealthy caution. 

( To Cassio y laughingly y holding the handker^ 
chiej behind him so as to let Othello see it* 

You gjiy young courtier, visiting angels 
In your fair house forget their crown and 
wings. 

Othello 

{looking at the handkerchief and standing 
just behind Iago, hidden by the first col- 
umn), 

I know it, I know it ! 
Oh, monstrous, monstrous ! 
I Iago. Othello listens. 



31 



Othllo. {Nascosio dietra la colonna e guar- 
dando ditraUoin trutto il fazzoletto nelle 
mani di Cassto») 

(Tutto e spento ! Amore e diiol. 

L'alma mia nessun piii smova. 

Tradimento, la tua prova 

Spaventosa mostri al Sol.) 

Jago. {A Cassto indicando il fazzoletto J) 
Qiiest' e una ragna 
Dove 51 tuo cuor 
Casca, si lagna, 
S' impiglia e muor. 
Troppo rammiri, 
Tropo la guardi, 
Bada ai deliri 
Vani e bugiardi. 
Quest' e una ragna 
Dove il tuo cuor 
Casca, si lagna, 
S' impiglia e muor. 

Cassio. {guardando il fazzoletto che avrd 

ritolto a jago), 
Miracolo vago 
Deir apso e dell* ago 
Che in raggi tramuta 
Le fila d' un vel ; 
Piu bianco, piii lieve 
Che fiocco di neve, 
Che nube tessuta 
Dair aure del ciel. 

{^Squillo di tromha interno^poi un colpo di can- 

none.) 

{^Otello sard ritornato nel vano del verone.) 

Jago. 

Quest' e il segnale che annuncio 1' approdo 
Delia trireme veneziana. Ascolta. 
{Squilli da varie parti.) 

Tutto il castel co' suoi squilli risponde. 

Se qui non vuoi con Otel lo scontrarti 

Fuggi. 
Cassio. Addio. 
Jago. Va. 

( Cassio esce velocement dalfondo.) 



Othello 

{hidden behind the column and looking at the 
handkerchief in Cassids hands). 
All is vanished, both love and grief, 
Nothing more my heart can move. 
Latest treason hatched in night, 
Now lies open to the light. 

IagO {to Cassio). {Pointing to the handker 

chief.) 

This is a slider's web 

Where thy poor heart 

Is caught and languishes, 

Never to part 

While thou art feeling 

Raptures Unceasing. 

Firmly she holds thee, 

Never releasing. 

This is a spider's web 

Where thy poor heart 

Is caught and languishes 

Never to part. 
Cassio 

{looking at the handkerchief which he has 
tciken back from lago). 

This is a wonder wrought 
By thread and thimble 
Into a ray of light. 
The fabric is changed, 

Nosno^£ad j4ft is whiter, — >. 

^^NtTgossamer lighter. 
It is like a cloudlet 
That floats in the sky. 

f{Trumpets from behind, then a cannon- shot,) 
{Othello has again retired to the terrace.) 
This is the signal announcinjg^-^at 



\ 



\ 






lago. 



galley 




Lor. Noj 
{Trumpets from another side.) 

With all its trumpets the castle gives answer ; 

If here you would not Othello encounter, 

Hasten. 
Cassio. Farewell, then. 
Iago. Go ! 

{Exit Cassio quickly at back.) 



SCENA VI. 

Jago. Otello. 

Otello. {awicinandosia J^ago.) 

Come la uccidero ? 
Jago. Vedeste ben com* egli ha riso? 
Otello. Vidi. 

{Z>i tanto in tanto salve di gioia 
squilli che ei svvicinano. ) 



SCENE VL 
Iago, Othello. 

Othello {going up to Iago). How shall I 

murder him? 
Iago. Did you perceive him gaily laughing.? 
Othello. I saw him. 

{From time to time shouts of joy and trumpets 
approaching, ) 



32 



Jago. E il fazzoletto ? 

Otkllo. Tutto vidi. 

Voci. {dal de/ouriy lontane^ 

Evviva ! 
Voci. Allariva! 
Voci. Alio sbarco ! 
Otello. E condannata. 

Fa ch' io in' abbia un velen per questa notte. 

Voci. {ptuvictnt), 

Evviva ! Evviva il Leon di San Marco ! 
Jago. II tosco no, val meglio soffocarla, 

La, nel suo letto, la, dove ha peccato. 



Otbllo. Questa giustizia tua mi place. 

Jago. A Cassio 

Jago prowedera. 
Otello. Jago, fin d' era 

Mio Capitano t* eleggo. 
Jago. Mio Duce, 

Grazie vi rendo. 

.(// tumulto k sempre piii vicino, Fanfave e 
grida,) 

Ecco gli Ambasciatori. 
Li accogliete. Ma ad evitar sospetti 
Desdemona si mostri a quel Messeri. 
Otello. Si, qui T adduci. 

(Jago esce dalla porta di sinistra: Otello s' 
avvia verso il fondo per ncevere gli 
Ambasciatori.) 



SCENA VII. 

C)tello, Lodovico, Roderigo, L'Araldo. — 

Dignitari delta Repuhblica Veneta — Gen- 
tiluomini e Dame — Soldati — Trombet- 
tieri^ dal fondo — foi jago con Desdemo- 
na ed Emilia, dalla sinistra, 

Lodovico 

(^tenendo una pergamena), 

II Doge ed il Senato 
Salutano V eroe trionfatore 
Di Cipro. Io reco nelle vostre man! 
II messagio dogale. 

Otello 

i^prendendo il messagio e baciando il suggello) , 

Io bacio il segno 
Delia Sovrana Maesta. 

(Lo spiega e legge!) 



Iago. The napkin saw you ? 

Othello. Well, I saw it. 

Voices {Jrom afar) . Be welcome 1 

Voices. To the shoreward ! 
Voices. Pull togetlier ! 
Othello. Her fate is settled. 

This same night she must die, get me some 
poison ! 
Voices {nearer). Thrice hail to the Lion of 

San Marco ! 
Iago. With poison, no ! nmch better *tis to 
strangle her I 
There, in her bed, yea, the bed slie has 
defiled. 
Othello. Good ! good ! the justice of it 

pleases I 
Iago. For Cassio 

I will myself provide. 
Othello. Thou from this hour, Iago, 

Shalt be my lieutenant. 
Iago. My Gen'ral ! 

Thanks I do proffer. 

(The din draws nearer,) 

There's some one come from Venice. Go, 

Receive him. 
And to avoid suspicion, let Desdemona 

with yourself be present. 
Othello. Yea, go to call her. 

Exit Iago right. Othello goes toward back 
to receive the ambassadors. 



SCENE VII. 



Othello, Lodovico, Roderigo, the Her- 
ald, Dignitaries of the Venetian Re- 
public, Gentlemen and Ladies, Sol- 
diers AND Trumpeters, then Iago, with 
Desdeaonia and Bmilio. 

Lodovico {holding a roll of parchment in his 
hand.. 

The Duke and the Senate of Venice send 
their greeting to the hero of Cyprus. 
To your own hands I here deliver theii 
most gracious message. 

Othello {taking the letter and kissing the 

seal) . 

I kiss the symbol 

Of their most sovereign majesty. 

(Opens the letter and reads,) 



33 



LODOVICO 

{avvicinandasi a Desdeniona). 

Madonna, 

V abbia il cielo in sua guardia 
Dbsdemona. E il ciel v' ascolti. 

Emilia (a Desdemona^ a parte). 

Come sei inesta. 
Dbsdemona 

{ad Emilia^ a parte). 

Emilia ! una gran nube 

Turba il senno d' Otello e il mio destino. 

Jago 

{andando da Lodovico). 

Messer, son lieto di vedervi. 

{^Lodovico^ Desdemona e Jago formano croc- 

chio insieme,) 

Lodovico. Jago, 

Quali nouve ? • . . ma in mezzo a voi 
non trovo 

Cassio. 
Jago. Con lui crucciuto e Otello. 
Desdemona. Credo 

Che in grazia tornera. 
Otello. 

(a Desdemona e sempre in atto di leggere). 

Ne siete certa? 
Desdemona. Che dite ? 
Lodovico. Ei legge, non vi parla. 
Jago. Forse 

Che in grazia tornera. 
Desdemona. Jago, io spero ; 

Sal se un verace afl'etto io porti a Cassio . • . 

Otello 

{sempre in atto di leggere e febbrilmente a 
Desdemona sottovoce). 

Frenate dunque le labbra loquaci . • • 

Desdemona. Perdonate, signor . . . 
Otello 

{avventandosi contro Desdemona) 

Demonio taci ! ! 
Lodovico 

{arrestando il gesto d' Otello), 

Ferma ! 
TuTTi. Orrore ! 
Lodovico. La mente mia non osa 

Pensar ch'io vidi il vero. 



Lodovico. My lady, may the angels 
Protect you ! 



Desdemona. May heaven hear you I 
Emilia {to Desdemona aside). 

Why all this sadness? 
Desdemona. 

{To Emilia y aside,) 

Emilia ! A heavy cloud 
Hangs o'er the mind of Othello, and o'er 
my future. 

Iago. 

{To Lodovico,) 

Most welcome ! I'm glad to see you. 

{Lodovico^ Desdemona^ and Iago form a 

group.) 

Lodovico. Thank you, 

Good Iago. What news? How does Lieu- 
tenant Cassio? 

Iago. Annoyed with him 's Othello. 
Desdemona. But soon 

He will regain his grace. 
Othelo. 

{Continuing to read rapidly to Desdemona,) 

Art thou so certain? 
Desdemona. What say you ? 
Lodovico. He's reading, did not listen. 
Iago. Perhaps 

He will regain his grace. 
Desdemona. Firmly I hope so. 

I would do much for the love I bear to 
Cassio. 
Othello. 

{Always pretending to read excitedly to Desde* 
monay and in a whisper.) 

Pray, keep that chattering tongue now from 
wagging. 
Desdemona. Pray, forgive me, my lord ! 
Othello. 

(About to strike Desdemona.) 

Be silent, devil ! 
Lodovico. 

(Holding back Othello,) 

Spare her ! 
All. Oh, horror ! 
Lodovico. My mind cannot believe 

Such a deed, although I saw it. 



34 



\ 



Otelj-o. 

{repentinamente alF Araldo e con accento im- 

perioso). 
A me Cassio ! 

(Z' Aralde esce,) 
Jago. 

(passando rapido accanto ad Otelloy e a bassa 

voce), 

(Che tend ?) 
Otello. 

{a Jago a bassa voce). 

(Guardala mentr* ei giunge.) 
LoDOVico. Ah ! triste sposa ! 

{A bassa voce avvicinandosi a Jago ctu si 
sard un po' allontanato da Otello.) 

Quest* e dunque V eroe? quest* e il guer- 

riero 
Dai sublimi ardimenti? 
Jago. 

{a Lodovico alsando le spalle). 

E quel che'gli e. 
Lodovico. Palesa il tuo pensiero. 
Jago. Meglio e tener su ci6 la lingua muta. 



Otheuxx 

( To the Herald in a commanding voice,} 

Bring here Cassio ! 

{Exit Herald.) 

Iago. {Running to Othello^ softly.) 
And wherefore? 



Othello. ( To Iago softly.) 

Watch her when first he enters. 



Lodovico. Unhappy lady ! 

{Softly^ aside to Iago.) 

Is he the noble Moor whom our full state 
Call all in all sufficient? 



Iago. ( To Lodovico ^ shrugging his shoulders. ) 
He's that he is. 



Lodovico. What think you ? Let me know it. 
Iago. Pray pardon me, I dare not breathe mjf 
censure. 



SCENA \1IL 

Cassio seguito dalT Araldo, e detti. 
Otello. 

{che avra sempre fissato la porta). 

(Eccolo ! E lui I N 

{Avvicinandosia Jago tnentre Cassio i sulla 

soglia,) 

Neir animo lo scruta.) 
Otello. 

{ad alta voce a tutti.) 

Messert ! II Doge . . . 

{Ruvidamente ma sottovoce a Desdemona.) 

— ben tu fingi il pianto) 

{A tutti ad alta voce). 

Mi richiama a Venezia. 
R.ODERIGO. (Infida sorte !) 
Dtello. 

{continuando ad alta voce e dominandosi) . 

E in Cipro elegge 

Mio successor colui che stava accanto 

Al mio vessilloy Cassio. 



SCENE vni. 

Cassio followed by the Herald and same. 

Othello. ( Who has been intently looking 
toward the door.) 

See ! he comes ! 

{Approaching Iago.) 
With all thy senses watch her ! 

Othello. {Aloud to all.) 

Good Sirs! The Duke here — 

(Roughly but slwoly to Desdemona.) 

Oh well painted passion 

{Aloud to all,) 

Has recalled me to Venice. 



Roderigo. Then all is over ! 

Othello. ( Continuing and aloud.) 

In Cyprus chosen 

Is in my place e'en he, who for for theai 

years 
Was my lieutenant, Cassio. 



35 



Jago. 



(fieramente e soppresc). 



(Inferno e morte !) 
Otbllo. 

{canHnuando come sopra e mostrando la per- 

gatnena,) 

La parola Ducale ^ nostra legge. 
Cassio. 

{inchinandosi ad Oiello). 

Obbedirb. 
Otbllo. 

(rapidamente a Jago in segreto ed indicando 

Cassio), 

- (Vedi? non par che esulti 
L'infame. 
Jago. No.) 
Otello. 

(^ad alto voce a iutti). 

La ciurna e la coorte 

(^A Desdetnona sottovoce e rapidissimo, ) 

(Continua i tuoi singulti . • • ) 

iAd alto voce a tntti, senza pih guardar 

Cassio.) 

£ le navi e il castello 

Lascio in poter del nuovo Duce. 

LODOVICO. 

(a Otelloy additando Desdetnona che s*avvicina 

stipplichevolmente) . 

Ote 

"er pieta laconforta o il-cor le infrangi. 

OTELLO. ^N^ 

{a Lodovico e DesdemonltS, 
Noi salperem domani. \ 

(^Affera Desdetnona furiosan^nte) . 
A, terra I . . . e piangi ! . v-""""^^ 
(Desde^OK^Lcadey EjniHd e Lodovico la rac 
colgonoetdsollevano pietosametite . ) 

Desdemona. 

A terra ! . . . si . . . nel livido 

Fango . . . percossa . . . io giacto . . . 

Piango . . . m'agghiaccia il brivido 

Deir anima che muor. 

£ un di sul mio sorriso 

Fioria la spenje e it bacio 

£d or . . . Tangoscia in viso 

£ r agonia nel cor. 

Quel Sol sereno e vivido 

Che allieta il cielo e il mare 

Non pu6 asciugar le amare 

Stille del mio dolor. 



Jago. {Aside^ surprised and/uriousJ) 
Death and perdition ! 



Othello. ( Continuing as above andpointittg 
to the parchment* ) 
I obey, Sirs, the mandate of the Senate. 



Cassio. {Bowing to Othello.) 
I too obey. 

Othello. {To lago in a rapid whisper^ 
pointing to Cassio,) 
See'st thou ? The villain seems 
Not to like it. 



Iago. No. 

Othello. {Again in a loud voice to all.) 

The city and the army. 
{Aside to Desdemona, atidin a rapid whisper. ) 

Pray do not stop your w beeping . . . 
(/« a loud voice to ally without looking at 

Cassio,) 

And the ships and the fortress 
I leave in charge of my successor. 



Lodovico. ( To Othello^ pointing to Desde^ 
mona^ who comes near in an imploring 
attitude,) 

Othello. 
Speak to her, comfort her. Her heart is 
breaking ! 
Othello. ( To Lodovico and Desdemona,) 
Well, we shall sail to-morrow. 
( Takes hold of Desdemotia furiously* ) 
To earth, on thy knees ! 
Desdemona falls. Emilia atid Lodovico lift hef 
up, trying to comfort her. 

Desdemona. Yea, prostrate here 
I lie in the dust. 

With anguish my heart is beating 
I feel the icy breath of ill that augurs death. 
The light upon his brow. 
His smile, his tender greeting, 
His kiss, where are they now? 
Weep, for aye I must. 
The sun, who from his cloudless sky 
Illumes the earth with splendor, 
No comfort can he tender. 
My tears he cannot dry. 



86 



Emilia, (Quella innocente un fremito 
D'odio non ha n^ un gesto, 
Trattiene in petto il gemito 
Con doloro50 fren. 
La lagrima si frange 
Muta sul volta mesto : 
No, chi per lei non piange 
Non ha pietade in sen.) 

RoDERiGO. (Per me s*oscura 11 mondo, 
S'annuvola il destin ; 
L*angiol soave e biondo 
Scompar dal mio cammin.) 

Cassio. (L'ora e fatal ! un fulmine 
Sul mio cammin I'addita 
Gia dimia sorte il culmine 
S*offre air inerte man. 
L'ebbra fortuna incalza 
La fuga della vita. 
Questa che al cjel m' innalza 
E un'onda d'uragan.) 

LuDovico. (Egli la man funerea 
Scuote anelando d'ira, 
Essa la faccia eterea 
Volge piangendo al ciel. 
Nel contemplar quel pianto 
La carita sospira, 
E un -tenero compianto 
Stempra del core il gel.) 

II CoRO. {A gruppi dialogando,) 

Dame. Pieta ! 
Cavalieri. Mistero ! 
Dame. Ansia mortale, bieca, 

Ne ingombra, anime assorte in lungo orror. 

• 

Cavalieri. QuelPuomo nero h sepolcrale, e 
cieca 
Un'ombra, ^ in lui di morte e di terror. 

Dame. Vista crudel ! 

Cavalieri. Strazia coll'ugna Torrido 

Petto ! Figgo gli sguardi immoti al suol. 
Poi sfida il ciel coir atre pugna, V ispido 
Aspetto ergendo ai dardi alti del Sol. 



Dame. Ej la colpi ! quel viso santo, pallido, 
Blando, si china e tace e piange e muor. 
Piangon cosi nel ciel lor pianto gli angeli 
Quando perduto giace il peccator. 



Emilia. 

Her innocence is silent all, 

No rancor bears her constant heart. 

Deep in her bosom dies the sigh. 

Wrung from her by her grief. 

The bitter tear-drops, as they fall^ 

Can never bring relief. 

Oh, weep for her who meekly 

Thus her misfortune bears ! 

RODBRIOO. 

(Now all the world is darkened, 
AH sunless is the day ! 
She whom my heart did worship 
Has vanished from my way.) 

Cassio. 

Fatal the hour ! a lightning*s flash 
Shows me the threatening danger. 
Honor and riches crowd on me, 
Their brightness brings no joy. 
Yea, jealous fortune's anger 
Too soon will overtake me. 
And from this dream awake me 
As with the thunder's crash. 

LODOVICO. 

His hand is raised against her, 
Wrath ev'ry word is breathing. 
She with a gentle meekness 
Looks for relief above. 
Gazing upon her sadness 
Moved is my heart with pity ; 
Ah ! could my help avail her 
Soon to regain his love. 

Chorus. {Talking' in groups,) 
Alas ! 



Knights. A secret. 

Ladies. Some mortal anguish 

Dark and uncertain with tlioughts of evil 
shrouds his mind. 

Knights. Black is his visage, black is his 
soul, 
His eyes are lighted with a presage of some 
ill. 

Ladies. A cruel sight ! 

Knights. With clenched hands, wildly 

He beats his bosom ! His eyes are fixed 

upon the ground. 
Now he looks up as if defying 
With threatening glance the mighty powers 

that are above. 

Ladies. Her face he struck ! that face so pale, 
Like unto an angel's. She stands in silence. 
And weeping there. 'Tis thus that 
Angels weep when from high heav'n ak)OV« 
They see a sinner writhing in despair. 



87 



JjlGot {awicinandosi a Otella che resierh ac' 
casciatosu dTun sedile). 
(Una parola.) 
Otelix). E che? 

J AGO. T'affretta ! Rapido 

Slancia la tua vendetta ! II tempo vola. 

Otello. Ben parli. 

Jago- 

£ rira inutil ciancta. Scuotiti ! 
AlFopra er^i tua mira ! AlFopra sola I 
lo penso a Cassio. £i le sue trame espia, 
U infame anima ria ravemo ingbiotte ! 



Otello. Chi gliela svelle? 
Jago. Io. 

Otello. Tu ? 

Jago. Giurai. 

Otello. Talsia. 

Jago. Tu avrai le sue novelle in questa 
notte. • • • ) 

{Abbandonu Otello e si dirige verso Roderigo.) 

Jago. (ironicamente a Roderigo.) 
(I sog^i tuoi saranno in mar domani 
E tu suU'aspra terra I 

Roderigo. Ahi triste ! 

Jago. Ahi stolto ! 

Stolto I Se vuoi tu puoi sperar ; gli umani, 

Orsu ! cimenti afTerra, e m'odi. 

Roderigo. Ascolto. 

Jago. Col primo albor salpa il vascello. Or 
Cassio 

E il Duce. Eppur se awien che a questa 
accada 

{toccando la spadd) 

Sventura • . . allor qui resta Otello. 
RoDERiGol Lugubre 

Luce d'atro balen I 
Jago. Mano alia spada ! 

A notte folta io la sua traccia vigilo, 

E il varco e Tora scruto, il resto a te. 

Sar6 tua scolta. A caccia I a caccia I Cingiti 

L'arco ! 



Roderigo. Si I t'ho venduto onore eft.) 

Jago. (Corri al miraggio I il fragile tuo senno 
Ha gia confuso un sogno menzogner. 
Segui I'astuto ed agile mio cenno, 
Amante illuso, io seguo il mio pensier.) 



Roderigo. (II dado e tratto I Impavido fattendo 



Iago {approaching Othello^ who remains 
seated). 
Let me advise you. 
Othello. What in? 

Strike quickly. 
Iago. Do not tarry in your revenge, for time 

flies swiftly. 
Othello. Well spoken. 

Iago. Your wrath is like to slacken, let it not ! 
To work without delaying, and without 

P>ty. 

I will see to Cassio. I know where to find 

him. 
His soul with deeper dye shall tinge 
Avemus. 
Othello. Who will despatch him? 
Iago. I. 

Othello. Thou ? 

Iago. Have sworn. 

Othello. So be it. 

Iago. You shall have certain news this very 
evening. 

(^Leaves Othello and goes toward Roderigo,) 

Iago. (^Ironically to Roderigo J) 

Your true love will be on Uie sea to-mor- 
row, 
And you'll be left on dry land. 
Roderigo. Too certain I 

Iago. Ah, coward ! 

Coward I For brave men there is hope ; 
Bestir thee then, use every effort and hear 
me. 
Roderigo. I hear thee. 

Iago. At break of day will sail the vessel. 

Then Cassio's genVal. If, meanwhile, he 
should meet 
{laying his hand on his sword) 
With some misfortune, then here remains 
Othello. 
Roderigo. What baneful 

plan dost now thy imply? 
Iago. Unsheath thy weapon ! 

From early fall of night his traces I will 

watch, 
I'll tell thee place and movement, then thou 

must act. 
I will be near thee. The hunt's up, my 
noble huntsman. 
Roderigo. Yea, I am thine, I must obey. 
Iago. Idle the visions, empty as air you follow, 
Such is the path my will for you has 
wrought 
Go then, and do the deed, e'en as I bid you. 
Ah I deluded swain, you act what I have 
thought. 
Roderigo. The die is cast, where'er you ^ead 
my unknown destiny. 



38 



Ultima sorte, occulto mio destin. 

Mi sprona amor, ma un avido, tremendo 

Astro di morte infesta il mio cammin.) 
Otello. {^Ergendosi e rivolto allafolla^ terri^ 
btlmente,) 

Fuggite I 
TuTTi. Ciel? 
Otello. {^Slancciandosi contro lafoUa*) 

Tutti fuggite Otello ! 

{fanfara interna^ 

Jago. {^Aglis astant.) 

Lo assale una malia 

Che d'ogni senso il priva. 
Otello. ( Con forza . ) 

Chi non si scosta e contro me rubello. 
LoDOVico. {^Fa per trascinare lontano Desde^ 
mona.) 

Mi segui. • • • 
Voci. {^Dal di fuori.) 

Ewiva ! 
Desdemona. {^Sciogliendosi da Lodovico e ac- 
correndo verso OteUo,) 

Mio sposo ! 
Otello. (a Desdemona,) 

Anima mia 
Ti maledico \ 
TuTTL {JSscono inorriditt,) 

Orrorl • • • 
{Desdemona^ fra Emilia e Lodovico esce,) 



SCENA IX. 

Otello e Jago soli. 
Otello. {Sempre pii^ affannoso.) 

Fuggirmi io sol non sol • • • Sang^el 

Ah I Fabbietto 
Pentiero 1 • • • cid m* accora ! 

(^Convulsivamenle, delirando.) 

Vederli insieme awinti • . 11 fazzoletto I • • 
Ahl . • . 

(^Sviene,) 

Jago. (B mio velen lavora.) 
Fanfare b Vocl {J}aldi fuoru) 
Viva OteUo I 



Love is my guide, a deep resistless longingt 
Be it to death, I still must follow thee. 

Othello. (Rising^and turning to the crowds 
with terrible expression,) 

Avaunt ye ! 
All. Heav*n ! 

Othello {rushing towards the crowd)* 

All fly before Othello I 

Iago {to all) . He's taken with a sickness 
Which of all sense deprives him. 

Othello {forcibly). 

He is a rebel who any longer tarries. 
Lodovico {trying to draw Desdemona away)* 

Come with me ! 

Voices {Jrom behind), Vittorial 

Desdemona. 

{Freeing herself from Lodovico and rushing 
towards Othello,) 

My husband ! 
Othello {to Desdemona). Wife of my bosom I 
My curses on thee. 

All. 
{Exeunt horrified,) 
Great heav'n ! 

{Desdemona is led away by Emilia and 

Lodovico^ 



SCENE IX. 



Othello, Iago, (o/^mm)* 



Othello. 



{Mare and mare excited^ 

Alone I cannot fly I Blood I Ah I too mon- 
strous 
To think of I That I like not 

{In convulsions^ 

To see them clasp each other I 
kerchief I Ah ! 

{He swoons.) 



That hand- 



Iago. He changes with my poison. " 
VioCBS {from behind). Hail, OtheUoI 



99 



fMBO {ascoitando h grida^ poi osser 
Otello disteso a terra tramortito)* 



U eco della vittoria 
Porge sua laude estrema. 

{Dopo una pausa,) 

Chi pu6 vietar che qi^sta fronte io prema 
Col mio tallone ? 

Fanfarb e Voci {esterne piu vtcine), 

Ewiva Otello ! Gloria 

Al Leon di Venecia I 
J AGO (ritto e con gesto cTorrendo trionjh^ in' 
dicando il corpo inerte ct Otello). 



Ecco U Leone I • • • 



Iago {listening to the shouting and looking, 
at Othello who lies stretched out before 
him). 

Echo's loud with his glory, 
Praising his valor loudly. 

{After a pause.) 

Who can prevent me there to plant my 

boot heel 
Upon his forehead ? 
Voices {behind^ coming nearer) . 
Vittoria ! Hail, hail, Othello I 
Hail to the lion of Venice. 
Iago {standing erect and pointing with hor- 
ribletriumph to the motionless body o) 
Othello). 

S«« here the lion I 



40 



ATTO QUARTO. 
La Camera di Desdemona. 

LettOt inginocchiatoio, tavoloy specchio^ sedie. 
Una lampada arde appesa davanti alV 
immagine delta Madonna che sta al dt 
sopra deir inginocchiatoio. Porta a 
destra. E, notte, Un tume acceso sul 
tavoto. 



ACT FOURTH. 
The Bedroom op Desdsmona 

A bed, prie-DieUf tabte, looking-gtass^ chairs. 
A burning lamp is suspended in front of 
the image of the Madonna^ which is 
above the prie-Di^u. Door to left, A 
lighted candle on the table. It is night. 



scena prima. 
* Desdemona, Emilia. 

Emilia. Era piu calmo? 

Desdbmona. Mi parea. M' ingiunse 
Di coricanni e d' attenderlo. Emilia, 
Te ne prego, distendi sul mio letto 
La mia Candida veste nuziale. 
M' odi. Se pria di te morir doves^i 
Mi seppellisci con un di quei veli. 



Emilia. Scacciate queste idee. 
Desdbmona. 

{Sedendo macchinalmente davanti alio 

specchio,) 

Son mesta tanto. 
Mia madre aveva una povera ancella 
Innamorata e bella ; 
Era il suo nome 
Barbara, Amava 
Un nom che poi Tabbandon^, cantava 
Una canzone : la canzon del Salice* 

{A Emilia.) 

— Mi disciogli le chiome — 

lo questa sera ho la memoria plena 

Di quella cantilena : 

^^ Piangea cantando 
Neir erma landa, 
Piangea la mesta. 
O Salce ! Sake ! Salce I 
Sedea chinando 
Sul sen la testa ! 
O Salce I Salce ! Salce ! 
Cantiamo ! il Salce funebre 
Sara la mia ghirlanda.'* 



SCENE I. 
Desdemona, Emilia. 

Emilia. He looked more gentle? 

Desdemona. So it seemed. He bade me 
Soon to wait him and go to t>ed. Emilia, 
Let me ask you, before you go, lay on vny 

bed 
The same sheets that were there on my 

wedding-night. 
Listen. If haply I should die before thee, 
Let me be shrouded in one of those sheets. 

Emilia. Come, come, you talk of fancies. 

Desdemona. 

{Sitting down mechanically before the looking-' 

glass.) 

I am sad to-night and weary. 
My mother, long, long ago, had a maiden, 
As fair as she was faithful, 
And her name was 
Barbara. She was in love, 
And he she loved proved mad, and lastly 
Did forsake her. She had a song of ^^ wil- 
low." 

(To Emilia.) 

Loose my hair, prythee — 

That song this evening it will not leave me, 

Like that poor maid I e'en must sing it. 

The poor soul sat pining 

Alone and lonely. 

There on the lonely strand, 

Sing willow, willow, willow. 

Upon her bosom 

Her head inclining — 

Willow, willow, willow. 

Sing heigho, sing all a green, green, 

Willow shall be my garland.'* 



44 



41 



— Affrettati 5 fia poco giunge Otello. — 

** Scorreano i rivi fra le zolle in fior, 
Gemea quel core aftranto, 
B dalle ciglia le sgorgava il cor 

U amara onda del pianto. 
O Salce ! Salce ! Salce ! 
Cantiam la nenia blanda. 
Cantiamo I il Salce funebre 
Sara la mia ghirianda." 



** Scendean gli angelH a vol dai rami cupi 
Verso quel dolce canto. 
E gli occhi suoi piangevan tanto, tanto, 
Da impietosir le rupi." 



(tf Emilia levandosi un anello dai dito, ) 

— Riponi questo anello — 
Povera Barbara 1 — Solea la storia 
Con questo semplice — suono finir : 

**Egli era nato — per la sua gloria^ 
lo per amarlo " 

{Interrompendo.) 

— Ascolta. Odo un lamento. 

{^Emilia fa qualche passo.) 

Taci. Chi batte a quella porta? . • • 
Emilia. E il vento. 

Desdemona. 

** lo per amarlo e per morirJ* 



Emilia, addio. Come m' ardon le ciglia ! 
£ presagio di pianto. 

(abbraccia Emilia che esce.) 

Buona notte. 



SCENA II. 



Dbsdemona, sola^ 

{ya air inginocchiatoio.) 

Ave Maria piena di grazia, eletta 
Fra le spose e le vigini sei tu, 

Sia benedetto il frutto, o benedetta, 

Di tue materne viscere, Gesu. 

Prega per chi adorando a te si prostra, 

Prega pel peccator, per Tinnocente 



Prythee despatch, anon will come Othello. 

*•*' The fresh stream ran by her, where the 
rushes grow, 
And murmured all her moaning, 
' And from her eyes the soft tears they did 
flow 
Which in her heart were arising 
Willow, willow, willow ! 
Sing heigho ! sing all a green, green 
Willow shall be my garland." 

^* Down from the branches all the birds 
came flying. 
Listening to her sweet sighing. 
So full of sorrow was her tender ditty, 

' The stones were moved to pity*" 

( To Emilia^ taking a ring from her finger.) 

Lay by this ring and guard it — 
Alas, poor Barbara ! I think her story 
Simply and sadly thus used to be, 
" For he was destined to live in glory, 
And I to love." 

{Interrupting. ) 

Do barken. Was that a sigh ? 

{^Emilia goes toward the window.) 

Listen. Who is't that knocks at this hour? 
Emilia. The wind. 
Dbsdbmona. *' And I to love him and to die.** 



Good-night, Emilia. How my eyes itch 

this evening. 
Doest thou think that bodes weeping? 

{^Embraces Emilia^ who departs.) 

Good-night. 



SCENE II. 



Desdemona, alone* 

(^Kneeling before the image of the Madonna.) 

Hail, to thee, Mary, full of grace, the Lord 
Is with thee, blessed are thou amongst 

women, 
And blessed is the fruit, O tliou most 

blessed ! 
The fruit of thy womb, Jesus. 
Ah, pray for her who lies in pray'r before 

thee. 
Pray for the sinner, and for the sinless, 



42 



£ pel debole oppresso e pel possente 

Misero anch'esso, tu pieta dimostra 

Prega per chi sotto Toltraggio piega 
La fronte e sotto la malvagia sorte ; 
Per noi tu prega 
Sempre e nell' ora della morte nostra. 

{^Resta ancora inginocchiata ed appoggia la 
fronte sulC inginocchiatoio come chi ripeta 
nuntalmente una orazione, Non s'odono 
che le prime e le ultime parole della 
pregheiru.) 



Give thv aid to the oppressed and to tho 

mignty. 
He, too, will need it. Pray for all who im* 

plore thee. 
Pray thou for her who is sadly sighing, 
As all the early hopes of bliss betray her. 
Oh grant, oh grant thy prayer. 
Pray for us now and in the hour of dying. 

{^Ske remains kneeling^ resting her head on the 
prie-Dieu and repeating her prayer, only 
the first and last words of which are 
audible.) 



wUovoce* 



l &LtUL J > J'^i_p4^^ ^ ^ ^ J J J ^P 



A - ve Ma - ria pie - na di gra - zia, 

Beom^ng^ so hright, ev '"^ry star skiu - eth. 



e • let 
Be • KAi/ft 



ta 
the 



fra le 
dome of 




spo - see le ver • gi - ni sei tu, sia be - ne • det - to il f rut - to, o be - ne 

heaven lies the wea • ry world a - sleep. To pray* reach pi • ous watch ^er com - eth in 

caniabiU dolce. 




det - ta, di tue ma - ter - ne vi - see - re, Ge - su. Pre - ^a per cbi a • do - 
si' lencCf com ' mum 'ing with the source of light, the Lord! Thou mtgh - ty King and 
dolee. 




Hcult thou source of 



and com 



fort here ; 

marcato. 



mi - se - ro 
Thou art the 




^iCztgiA^ ^^^ 




3n=s 



I3^fc= 



anch^esso, tua pie - ta di - mo .- - stra. 
giv ' er! from th y hand rich bless ^ ings fall, 
aniviando . - 




Pre • ga per chi sot -to I'd 
Vouch • safe thy ten - der 



^^^ \ 




trag - gjo pie - ga la 
bless - ing now un - to 
dolcissimo. 



^ 



i ^j-^^j^^?^ 



fron - tee 
us. And 



sot - to la 
be with us 



mal - va 



- gia 
in ev - ^ry 



sor - to; 
tri - al; 




noi per noi tu pre - ga, pre • ga sem - pre e 
us not a - lone^ we pray; Be thou near us^ he 



nel - To - ra del • la - 
theu near us, Fa^the^m 



43 



nuxTcoiOm 







mor • te no • stra, 
he tkau ntar us/ 



pre - ga per noi, pre - ga 

GiV' er of life^ Grv -rr 



A-ve Maria, 
Bi thou neoTf 



neir o - ra del • la mor - te. 
A'tidewiih us for^ev • tr* 



per noi, pre • ga. 
of light and lifet 
dolctss. 




A 
A 



vcl 
men! 



A -men I 
A-mtnt 



SCENA III. 

Desdbmona, Otbllo. 

{Otello entra da una po^a segreta^ depone una 
scimitarra sul tavoloy s'arresta davanti 
alia face^ titubante se spegnerla o no, 
Guarda Desdemona. Spegne la face. 
La scena resta rischiarata dal solo liime 
dell* inginocchiatoio. Otelloy spinto da 
un impeto di furore^ s^avvicina al letto; 
ma Id s*arresta, Contempla lungatnente 
Desdemona che dorme. La bacia ire 
volte. Air ultimo bacio Desdemona si 
desta.) 

Desdemona. • . • Chi ^la? . • . 

Otello?^ 
Otbllo. Si. Diceste questa sera* 

Le vostre preci ? 

Dbsdemona. Orai. 

Otbllo. Se vi sovviene 

Di qualche colpa commessa che attenda 
Grazia dal ciel, imploratela tosto. 

Desdemona. Perchfe ? 
Otello. 

T' affretta. Uccidere non voglio 

L' anima tua. 
Desdemona. D' uccider parli? 
Otello. Si. 

Desdemona. Pieta di me, mio Dio. 
Otello. Amen, 
Desdemona. £ abbiate. 

Pieta voi pure. 
Otello. Pensa ai tuoi peccati. 
Desdemona. Mio peccato e V amor. 
Otello. Percio tu muori. 
Desdemona. E perche t* amo m' uccidi? • . • 
Otello. Ami Cassio. 
Desdemona. No I suir anima mia ! 



SCENE IIL 



desdemona, OTHELLO. 



( Othello enters by a secret door. He lays a 
scimitar on the tabUy and stands before 
the candUy doubtful whether to blow it 
out or not. Looks at Desdemona and ^x- 
tinguishes the candle, Othello^ with a 
gesture of fury^ goes towards the hedy but 
he stopSy looks for a long time on the 
sleeping Desdemona, He kisses her three 
times. At the last kiss she awakes.) 



Desdemona. Who's there? 

Othello.? 
Othello. 

Ay ! Say, have you prayed to-night? 

Tell me, Desdemona. 
Desdemona. I prayed. 
Othello. If you bethink yourself 

Of any crime unforgiven as yet, 

by heav'n and by grace, then solicit straight 
for it. 
Desdemona. My lord ? 
Othello. Well, do it ! For heav'n forfend, 

I would not kill your soul. 

I Desdemona. You tJilk of killing ? 
I Othello. Aye ! 

Desdemona. Then Lord have mercy on me. 

Othello. Amen. 

Desdemona. Ah, then 

You too have mercy. 

Othello. Think upon your sins. 

Desdemona. They are loves borne to you. 

Othello. For that thou diest. 

Desdemona. Because I love you, you kill meP 

Othello. You love Cassio. 

Desdemona. No ! I swear by n^v soul I 



44 



Otbllo. Quel fozzoletto 

Ch'io ti donai gli desti. 
Desdsmona. Non e vero ! 
Otbixo. Nella sua man lo vidi. 
Desdsmona. Io rea non sono I 
Otello. Confessa ! 
Desdemona. Giuro ! 
Otello. Bada alio sperigiuro. • • • 

Pensa che sei sul tuo letto di morte. 
Desdsmona. Non per morir. 
Otello. Per morir tosto. 
Desdsmona. Aita I 

Cassio non amo. . . ch' ei qui venga. . . ei 
parli. 
Otello. Muto h per sempre. 
Desdsmona. Cielo! Morto? 
Otello. Morto. 

Desdemona. Son perduta I • . • ei tradito ! 
Otello. E pianger Tosi ? 
Desdemona. Otello • . . non uccidermi. . . 

Otello. Tu invano 

Ti difendi. 
Desdemona. Ch' io viva ancor. • • • 
Otello. Giu ! cadi, 

Prostituta ! 
Desdsmona. Pieta I 
Otello. Muori I 
Desdemona. Ch* io viva 

Questa notte. • • • 
Otello. No. 

Desdemona. Un"* ora. • • • 
Otello. No. 
Desdemona. Un istante. 
Otello. No. 

Desdemona* Sol ch' io dica un' Ave. 
Otello. E tardi ! E tardi ! 

{la soffoca, Un grido di Desdemona) 

(s' ode bussare alia porta,) 

Otello. 

{contemplando il corpo inerte di Desdemona,) 

Calma come la tomba. 
Emilia (dal di fuori.) 

Apritel Aprite I 
Otello {trabalzando)* 

Chife la!— Chi battel 
Emilia {comesopra). 

Signor mio . . . ven prego, 

Lasciate ch'io vi parli . . .Aprite I 
Otello (aprendo), Emilia, 

Che avvenne? 
Emilia {enlrando), 

Un gran delitto ! Cassio uccise 

Roderigo. 
Otello. E Cassio? 



Othello. -.'That handkerchief 

I gave you, you gave to Cassio. 
Desdemona. 'Tis a falsehood. 
Othello. In his own hands I saw it. 
Desdemona. And yet I'm guiltless. 
Othello. Confess thee ! 
Desdemona. Guiltless. 
Othello. Pray, take heed of perjury. • • 

Think thou art lying upon thy death-bed. 
Desdemona. But not to die. 
Othello. Yes, presently. 
Desdemona. Lord help me I 

Cassio I love not I Call him hither . . and 

ask him. 
Othello. He's mute for ever. 
Desdemona. Heav'n, dead? 

Othello. Dead. . 

Desdemona. He betrayed ... I undone I 
Othello. Dost weep, thou strumpet? 

DssDEMONA. Oh, banish, me • . . but kill 

me not. 
Othello. Nay, nothing 

Now will save thee. 
Desdemona. Oh spare me ! Oh let me live. 
Othello. Ha ! Down with thee, 

Thou strumpet ! 
Desdemona. Have pity. 

Othello. No. 

Desdemona. Let me but live 

To-night — 
Othello. No. 

Desdemona. An hour? 

Othello. No. 

Desdemona. But one moment? 

Othello. No. 

Desdemona. While I say my prayer? 
Othello. Too late ! 

{He slices her, Desdemona shrieks J) 

{Knocking- at the door.) 

Othello, {looking at the motionless form of 
Desdemona.) 

Calm, calm as the grave. 
Emilia {outside) . Within there, ho, open I 

Othello {faltering). 

Who's there? Who knocks there? 
Emilia {another knock) . 

Good, my lord, do hear me. I would but 
speak a word. Do open. 
Othello {opening the door), 

Emilia! What is it? 
Emilia {entering). 

It is foul murder ! Cassio's killed Roderigo. 

Othello. And Cassio? 



45 



Emilia. Vive. 
OTEI.LO. Cassiovivc^! 
Dbsdemona (dal letto). 

Ing^ustamente . • uccise ingiustamente • . 

Emilia (accorrendo al htto) . 

Chi geme la ? . . . Orror ! 
Dbsdbmona. Muoio innocente . • 
Emilia. Gran Dio ! . • . Chi fu ? 

Dbsdbmona. Nessuno . . . io stessa . . al mio 
Sig^or mi raccomnanda . . . Emilia • • . 
Addio . . . 

(Muore.) 

Otbllo. O mentitrice ! io Tuccisi. 

Emilia. Assassino ! 

Otello. 

Fu di Cassio la druda. A Jago il chiedi. 

Emilia. A Jago? 

Otello. A Jago. 

Emilia. Stolto! e tu il credesti? • . . 

Otello. Negarlo ardisci? ! 

(yb fer awentarsi contro Emilia,) 

Emilia. No ni temo. 
Otello ijta afferra). Bada! 

Emilia (jsi svincola e corre verso la porta 
gridando disperatamente) . 
Ola ! Soccorso ! Aiuto ! Otello uccise 
Desdemona ! 



I have been 



SCENA IV. 

Otello, Emilia, Lodovico, Cassio, Jago. 
Poi MoNTANO congente armata, 

TuTTi (Jranne Otello ed Emilia), 

Quai grida ! Orrore ! Orrore I 
Emilia. Jago, smentisci quel vile assassino. 

Hai tu creduto Desdemona infida? 

Parla I 



Jago. Tal la credea. 
Otello. Quel fazzoletto 

Che un di le diedi, a Cassio essa donava. 

Emilia. O potenza divina I 
Jago {ad Emilia). Taci. 

Emilia. No, 

Tutto rivelo I 
Jago. Taci. 



Emilia. Lives. 
Othello. Cassio lives I 
Desdemona {from the bed). 
I die here guildess • • . 
^ slain unjustly. 
Emilia {running to the bed). 

What cry is that? . . . Great God ! 
Desdemona* I die here guiltless. 
Emilia. Oh Heav'n ! . . . Who did this 

deed? 
Desdemona. Oh, no one • • • myself. 
. . . Unto my lord 
Pray you commend me . . • &rewelL 

{She dies.) 

Othello. She dies a liar I I have killed hen 

Emilia. Vile assassin ! 

Othello. Strumpet she was to Cassio. Your 

hushand told me. 
Em ilia. My husband ? 
Othello. Your husband. 

Emilia. Fool thou ! and did'st believe him? 
Othello. Dare you deny it? 

( Threatening Emilia,) 

Emilia. Thee I fear not. 

Othello. {Takes hold of her,) 

Tarry. 
Emilia \/rees herself and runs to the door 
<^^yi^g loudly) , 

Ho I help I bring rescue, assistance ! 

The Moor has murdered my mistress I 



SCENE IV. 

Othello, Emilia, Lodovico, Cassio, Iago, 
later on Montano and Solders. 

All. {Except Othello -and Emilia,) 

Oh, horror! Oh, horror! Alas! 
Emilia. Husband, if thou beest a man face this 
villain. 

He says thou told'st him his wife was un- 
faithful. 

Answer ! 
Iago. So I believe. 
Othello. The pledge and token 

Which first I gave her, in Qissio*8 own 
hand I saw it. 
Emilia. Oh, ye heavenly powers I 
Iago. ( To Emilia) . 

Silence. 
Emilia. No. 

I will reveal it. 
Iago. Silence. 



4« 



ll 



Elf ILIA. No! Costui 

Dalla mia man quel fazzoletto sveisc 
A viva forza. 
CAssio. £ nella mia diroora 

Trovai quel vel. 
MoNTANO {entrando ed indicando Jqg-o). 

Rodrigo morente 
Mi 8veI5 di quest' uom Tarti ne&nde. 

Otkllo (a Jago), 

Ah ! discolpati ! 
Jago (fuggendo). 

No. 
LoDovico. Ferma. 

MoNTANO. S' insegua. 

{Alcuni escono inseguendo Jago,) 

TuTTi. Afferratelo I 

Otbllo {slanciandosi fer efferrar la spadd). 

£ il ciel non ha piu fulmini ? ! • • « 
LoDovico. La spada a me 1 
Otbllo. Tant* osi ? I — Niun mi tema 

S' anco armato mi vede. Ecco la fine 



Del mib cammin 
Otello fu. 



Oh! Gloria! 



(Lascia cadere la spada) 
(va presso al letto e contempla Desdemond) 

£ tu . . . pome sei pallida ! e stanca, e 

muta, e bella, 
Pia creatura nata sotta maligna stella. 

Fredda come la casta tua vita, e in cielo 

assorta. 
Desdemona ! Desdemona . . . Ah ! . • . 

morta ! • . . morta . . • morta ! . • . 




{estraendo furlivamente dalle vesti un pug- 
nale.) 

Ho un armaancorl 

{si Jeirsce,) 

Cassio. Ah! Ferma! 
TuTTi. Sciagurato ! 

Otello. Pria d' ucciderti • • . sposa • • • 
ti Ipaciai. 
Or morendo . . • nell' ombra • • • 

ov' io mi giacio . . . 
Un bacio . . . un bacio ancora • • . 
on altro bacio • . • 



(Jiifuore.) 



/* 




Emilia. No! That handkerchief 

He tore away from me, and begged me oft 

To steal it. 
Cassio. And I found in my chamber 

A handkerchief. 
MoNTANO. {Entering and pointing to lagoJ) 

The dying Roderigo has confessed all the 
dark plots of this villain. 
Othello (/£> lago). 

Ah ! refute the charge I • < 

Iaoo. (Running.) 

No. 
LoDOVico. Stop him I 
MoNTANO. Arrest him 1 

{Exeunt attendants after lago.) 

All. Let him not escape. 
Othello. {Running towards his scimitar on 
the table J) 
Ah, Heav'n ! hast thou no lightning left? 
LoDOVico. Give me your sword. 
Othello. What would you ? Do not fear me. 
Though I still have a weapon. Here is my 

butt, 
Here my journey's end. Ah I glory I 
Othello's gone! 

{He drops the sword.) 

{ Goes to the ied^ looting upon Desdemona.) 

And thou, how dost thou look now? So 

pale, so still, so beautiful. 
Oh ! ill-starred wench and noble, battered 

by evil fortune. 
Cold now, yea, e'en as cold as thy chastity, 

most fit for heaven. 
Desdemona ! Desdemona I Ah ! dead, dead, 

dead! 

{//e furtively draws a dagger from kit 

doublet.) 

This still remains. 

{Stabs himself.) 

Cassio. Ah I hold him I 

All. Oh, Othello ! 

Othello. I kissed thee ere I killed theo» 

Now, no way but this, killing myselt 

A kiss— another kiss — and yet a kisit 

{He dies.) 



IT 



BOOKS ON THE VOICE 



m 
m 



YOUR VOICE AND YOU 

(What the Singer should do) 
By Clara Kathleen Rocebs (Clara Doru) Qoth* $1.75 net 

PREPARATORY COURSE TO THE ART OF VOCALIZATION 

Soprano, Mexza Soprano, Alto, Tenor, Baritone, Bass 
Edited by Eduardo Marzo Each book, paper. |1^ net 

THE ART OF VOCALIZATION 

Soprano, Mezzo Soprano, Alto, Tenor, Baritone, Bass 
Edfted by Eduardo Marzo Tliree books to each ▼oico— each, paper. 11^25 nel 

THE HEAD VOICE AND OTHER PROBLEMS 

By D. A. CumNGER Qoth, $1.25 net 

RESONANCE IN SINGING AND SPEAiONG 

By Dr. Thomas Fillbbrown Qoth, $1.50 net 

SIMPLE TRUTHS USED BY GREAT SINGERS 

By Sarah Robinson Duff Qoth, |1^ net 

SOME STACCATO NOTES FOR SINGERS 

By Marie Withrow Qoth, IliX) net 

THE COMMONPLACES OF VOCAL ART 

By Louis Arthur Russell Qoth, $1.25 net 

ENGLISH DICTION FOR SINGERS AND SPEAKERS 

By Louis Arthur Russell Qoth, I1J25 net 

FRENCH DICTION FOR SINGERS AND SPEAKERS 

By WiLUAM Harknbss Arnold Cloth, I1J25 net 

THE TRAINING OF BOYS* VOICES 

^ By Claude Ellsworth Johnson Qoth, 11^ net 

TWELVE LESSONS ON THE 
FUNDAMENTALS OF VOICE PRODUCTION 

By Arthur L Manchester Qoth, |1^ net 



BOSTON: OLIVER DITSON COMPANY 

New York: CHAS. H. DITSON & CO. Chicago- LYON & HEALY, Inc. 

Order of your Iced deder 



m 



i 



Standard Opera Librettos 

All librettos have English text. Additional texts are indicated by Italic letters, as 
follows: U Italian; G» German; F, French. Those marked with {^) coniaia no 
music. All the others have the music of the principal airs. 

PRICE, 30 CENTS, EACH 



Titi* 

AfricaiMt L* J. 

Aidbi I. 

Armide F, 

Bmllo in Ma>cliT>, Un 

(The Masked BaU) 7. 
Barbtt-Bleue 

(Blue Beard) F. 

BarbUre di SiTt«Ua, U 

( Barber of SerUle) J. 
BmHerad Bride G. 

BeUe Hfl^iia^ La F. 

Balk of Coraarilla 

(Chimes of Normandy) 
*BUlaa Taylor 
* Boccaccio 
Bohemian Girl^ The 

do. J. 

Camen F. 

do. J. 

CaTallaria Rnsticana J. 
Chimes of Normandy 

(Bells of GJomeriUe) 
Cleopatra** Nifht 
Conies d'Hoffmann, Lee 

(Tales of Hoffmann) F. 
Crispino e la Comare 

(The Cobbler and 

the Fairy) I. 

Crown Diamonds, The F. 

Dame Blanche, La 

Damnation of Faust, 
The F. 

Dinorah 7. 

*Doct<ir of Alcantara, 
The 



TitI* 



Qiacomo Meyerbeer 


Don Giovanni I. 


W. A. Mozart 


Oiuaeppe Verdi 


Don Pasqvale 7. 


Gaetano DonizetH 


0. W. von Oluck 


^Dorothy 
Dumb Girl of Portid, 


Alfred Cellier 


Oiuaeppe Verdi 




D.F.E. Auber 


• 


Eluire d'amore. I* 7. 


Gaetano Donizetti 


Jacquea Offenbach 


•Erminie 7. 


Edward Jakobow9ki 




Emani 7. 


Giuseppe Verdi 


CHoacchino A. RoMsini 


EtoUe dn Nord, L' (The 




Frederich Smetana 


Star of the North) 7. 


Giacomo Meyerbeer 


JctcQuea Offenbach 


Fatinitsa 


Franz von 8upp4 




Favst F. 


Charles Gounod 


Robert Planquette 


do. 7. 


do. 


Edward Solomon 


FaTorita, La 7. 


Gaetano Donizetti 


Franz von Bnpp6 


FideUo 0. 


L. van Beethoven 


Michael Wm. Balfe 


Fiflia del Regaimento, 




do. 


La (Daughter of the 




Oeorgei Bizet 


the Regiment) 7. 


Gaetano Donizetti 


do. 


Fille de IMadame Angot, 




Pietro Maacagni 


La F. 
Flauto Magiso, 11 


Charles Lecocq 


Robert Planquette 


(The Magic Flute) 7. 


W. A. Mozart 


Henry Hadley 


do. 0. 
Fledermans, Die 


do. 


JacqucM Offenbach 


(The Bat) G. 


Johann Strauss 




Flying Dutchman, The 


Richard Wagner 




do. G. 


do. 


Luigi and F. Ricd 


Fra DiaTolo 7. 


D. F. E. Auber 


D. F. E. Auber 


Freiscfatttz, Der G. 


Carl Maria von Weber 


F. A. Boieldieu 


do. 7. 
*GiUette (LaBette 


do. 


Hector Berlioz 


Coquette) 


EdmondAudran 


Qiacomo Meyerbeer 


Gioconda, La 7. 


AmUcare PonchieUi 




Girofld-Girofla F. 


Charles Leoocq 


Julius Eichberg 


Gotterdammerung, Di«G. 


Richard Wagner 



BOSTON; OUVER DITSON COMPANY 



New York: Chas. H. Ditson & Co. 



Chicago: Lyon & Healy 



Uftde te U. S. V 



Order of your local dealer 



s 



i 



BOOKS ON THE VOICE 



YOUR VOICE AND YOU 

(What the Singer should do) 
By Clara Kathleen Rocebs (Claka Doma) Qoth* $1.75 net 

PREPARATORY COURSE TO THE ART OF VOCALIZATION 

SopranOf Mexza Soprano^ Alto, Tenor, Baritone, Bau 
Edited by Eduabdo Marzo Each book, paper, |L25 net 

THE ART OF VOCAUZATION 

Soprano, Mezzo Soprano, Alto, Tenor, Baritone, Baag 
Edfted by Eduardo Marzo Tliree books to each voico— each, paper, 11^25 nel 

THE HEAD VOICE AND OTHER PROBLEMS 

By D. A. CLimNGER Qoth, |1^ net 

RESONANCE IN SINGING AND SPEAKING 

By Dr. Thomas FnxBROWif Qoth, $1.50 net 

SIMPLE TRUTHS USED BY GREAT SINGERS 

By Sarah Rorinson Duff Qoth, $1.50 net 

SOME STACCATO NOTES FOR SINGERS 

By Maris Withrow Qoth, IliX) net 

THE COMMONPLACES OF VOCAL ART 

By Louis Arthur Russell Qoth, $1.25 net 

ENGLISH DICTION FOR SINGERS AND SPEAKERS 

By Louis Arthur Russell Qoth, I1J25 net 

FRENCH DICTION FOR SINGERS AND SPEAKERS 

By William Harknrss Arnold Qoth, 11^ net 

THE TRAINING OF BOYS* VOICES 

By Claude Ellsworth Johnson Qoth, tlSSS net 

TWELVE LESSONS ON THE 
FUNDAMENTALS OF VOICE PRODUCTION 

By Arthur L Manchester Qoth, |1^ net 



BOSTON: OLIVER DITSON COMPANY 

New York'. CHAS. H. DITSON & CO. Chicago- LYON & HEALY. Inc. 

Order of your tccti deder 



totl 



1 ^ri--«7-^>43 



SONGS FROM THE OPERAS 




Edited by H, E. KREHBIEL 

^ound in paper, cloth back, $2,^0 each, net 
In full cloth, gilt .... ^.^o each, net 




In these volumes of The Miisicians Library the editor has presented in chron- 
ological order the most famous arias from operas bf every school. Begin- 
ning with songs from the earliest Italian produaions, a comprehensive 
view of operatic development is given by well-chosen examples from Ger- 
man, French, and later Italian works, down to contemppraiy musical drama. 

Each song or aria is given in its original scriptive, and interpretative notes on each 

key with the original text, and a &ithfut song. 

and singable English translation. Portraits of the most noted composers 

Each volume contains an interesting pref- represented are given in each volume, 

ace by Mr. Krehbiel, with historic, de- Size of each volume, 9*7x124 inches. 



SOPRANO SONGS FROM THE OPERAS 

Contains twenty-three numbers by nineteen composers. The music covers 188 pages, 
the prefatory matter 25 pages. Portraits are given of Beethoven, Bellini, Gluck, 
Gounod, Meyerbeer, Mozart, Rossini, Verdi, and Weber. 



MEZZO SOPRANO SONGS FROM THE OPERAS 

Contains thirty numbers by twenty-five composers. The music covers 186 pages, the 
prefiitory matter 29 pages. Portraits are given of Auber, Bizet, Donizetti, Handel, 
Massenet, Saint-Saens, Spontini, Thomas, and Wagner. 



ALTO SONGS FROM THE OPERAS 

Contains twenty-nine numbers by twenty-two composers. The music covers 176 
pages, the prefatory matter 20 pages. Portraits are given of Glinka, Gluck, Mandel, 
Lully, Meyerbeer, Purcell, Rossini, Thomas, and Vei'di. 



TENOR SONGS FROM THE OPERAS 

Contains twenty-nine numbers by twenty-one composers. The music covers 192 
pages, the prefatory matter 27 pages. Portraits are given of Beethoven, Bizet, Gluck, 
Gounod, Mascagni, Massenet, Verdi, Wagner, andWeber. 



BARITONE AND BASS SONGS FROM THE OPERAS 

Contains twenty-seven numbers by twenty-four composers. The music covers 188 
pages, the prefatory matter 20 pages. Portraits are given of Bellini, Bizet, Cherubini, 
Gounod, Hal^vy, Handel, Mozart, Ponchielli, and Tchaikovsky. 



BOSTON: OLIVER DITSON COMPANY 

NEW YORK: CHAS. H. DITSON & CO. CHICAGO: LYON & HEALY, INC. 

Order of your local dealtr 



;: i- - 
•V. - 

## »t_ , - 


i 

/ 

h 




,•■■■■■■ *.'^ v^.-.y^-)=i 


• > ■ • ' < r 


t 


1 '-•'. ■ ^-^' ^ 






ci 


3.. :;-.-r_y'-;: 


•i; • .. i if.' :. .' . 1 -? 






i^r-?^ 






1 «^ - -••.•.,.*. 




'■ * • 
* • ■ - 




rail 









1-- .■••■.. .,V .... 



^■sm'-.. 






~u- 



I'S-Z 




l^<^-t' 









'"^«> 



.■■J* .• >f 



- • * t • 


-'"« 


■ » - ^ 


^H 








» 




JL 



;.:-^-;,^ 







r 



'■•>V. 







r» • A > -^ • »• J* • • *^ ♦ ♦ 










k ' * * • * * •**•"■ -• 

.\1 



K^::v:-^:^^:^. 




4(5 



EifiLiA. No! Costui 

Dalla mia man quel fazzoletto svelse 
A viva forza. 
CAssiO. £ nella mia diinora 

Trovai quel vel. 
MoNTANo (entrando ed tndicando Jqgio), 

Rodrigo morente 
Mi 8vel5 di quest' uom Tarti ne&nde. 
Otkllo {ajago). 

Ah ! discolpati I 
Jago (fuggendo). 

No. 
LoDovico. Ferma. 

MoNTANO. S' insegua. 

{Alcuni escono tnseguendo Jago,) 

TuTTi. Afferratelo ! 

Otbllo (slanctandost per efferrar la spadd). 

£ il ciel non ha piu fulmini ? ! . • • 
LoDOvico. La spada a me ! 
Otbllo. Tant* osi ? I — Niun mi tema 

S' anco armato mi vede. £cco la fine 



Del mi6 cammin 
Otello fu. 



Oh! Gloria! 



{JLascia cadere la spada) 

(va presso al letto e coniempla Desdemona) 

£ tu . . . pome sei pallida I e stanca, e 
muta, e bella, 
// Pia creatura nata sotta maligna Stella. 

Fredda come la casta tua vita, e in cielo 

assorta. 
Desdemona ! Desdemona . . . Ah ! . • . 

morta I . . . morta . . . morta I . . . 

{estraendo furlivamente dalle vesti un pug* 
nale») 

Ho un arma ancor I 

{siyetrsce.) 

Cassio. Ah! Ferma! 
TuTTi . Sciagurato 1 

Otbllo. Fria d' ucciderti • • • sposa • • . 
ti Ipaciai. 
Or morendo . . . nell' ombra • . . 

ov' io mi giacio ... 
Un bacio . . . un bacio ancora • • . 
un altro bacio • . • 



(^Afuore.) 



^ 




£milia. Nol That handkerchief 

He tore away from me, and begged me aft 

To steal it. 
Cassio. And I found in my chamber 

A handkerchief. 
MoNTANO. {£ntering and pointing to faga,) 

The dying Roderigo has confessed all the 
dark plots of this villain. 
Othbllo(/^> logo). 

Ah ! refute the charge I 
Iaoo. {/Running,) 

No. 
LoDOVico. Stop him I 
MoNTANO. Arrest him I 

(^Exeunt attendants after lago.) 

All. Let him not escape. 
Othbllo. (Running towards his scimitar on 
the table,) 
Ah, Heav'n ! hast thou no lightning lef^ P 
LoDovico. Give me your sword. 
Othello. What would you ? Do not fear me. 
Though I still have a weapon. Here is my 

butt, 
Here my journey's end. Ah I glory I 
Othello's gone! 

(He drops the sword.) 

( Goes to the ied^ looting upon Desdemona^ 

And thou, how dost thou look now? So 

pale, so still, so beautiful. 
Oh ! ill-starred wench and noble, battered 

by evil fortune. 
Cold now, yea, e'en as cold as thy chastity, 

most fit for heaven. 
Desdemona ! Desdemona ! Ah ! dead, dead, 

dead! 

(He furtively draws a dagger from ki$ 

doublet,) 

This still remains. 

(Stabs himself.) 

Cassio. Ah I hold him I 

All. Oh, Othello ! 

Othbllo. I kissed thee ere I killed tbeo» 

Now, no way but this, killing myselt 

A kiss — another kiss — and yet a kisii 

{He dies.) 



BOOKS ON THE VOICE 



m 
m 



YOUR VOICE AND YOU 

IWhat the Singer should do) 
By Clara Kathleen Rocebs (Clara Doru) Qoth, 11.75 net 

PREPARATORY COURSE TO THE ART OF VOCALIZATION 

Soprano, Mexza Soprano, Alto, Tenor, Baritone, Bass 
Edited by Eduardo Marzo Each book, paper, |L25 net 

THE ART OF VOCAUZATION 

Soprano, Meszo Soprano, Alto, Tenor, Baritone, Bass 
Edfted by Eduardo Marzo Three books to each toico— each, paper, |L25 nel 

THE HEAD VOICE AND OTHER PROBLEMS 

By D. A. Cuppinger Qoth, 11^ net 

RESONANCE IN SINGING AND SPEAKING 

By Dr. Thomas FnxBRowif Qoth, $1.50 net 

SIMPLE TRUTHS USED BY GREAT SINGERS 

By Sarah Rorinson Duff Qoth, $1.50 net 

SOME STACCATO NOTES FOR SINGERS 

By Marie Withrow Qoth, IliX) net 

THE COMMONPLACES OF VOCAL ART 

By Louis Arthur Russell Qoth, |1^ net 

ENGLISH DICTION FOR SINGERS AND SPEAKERS 

By Louis Arthur Russell Qoth, I1J25 net 

FRENCH DICTION FOR SINGERS AND SPEAKERS 

By William Harknbss Arnold Qoth, |1^ net 

THE TRAINING OF BOYS* VOICES 

By Claude Ellsworth Johnson Qoth, tlSSS net 

TWELVE LESSONS ON THE 
FUNDAMENTALS OF VOICE PRODUCTION 

By Arthur L Manchester Qoth, $1.25 net 



BOSTON: OLIVER DITSON COMPANY 

New York'. CHAS. H. DITSON & CO. Chicago- LYON & HEALY, Inc. 

Order of your locd deder 



i